"BEFORE I DIE…": ORIGINAL COMPOSITION WITH A CRITICAL ESSAY EXPLORING

THE TECHNIQUES OF SIX CROSSOVER COMPOSERS

Robert Trusko

Thesis Prepared for the Degree of

MASTER OF ARTS

UNIVERSITY OF NORTH TEXAS

August 2014

APPROVED:

Kirsten Broberg, Major Professor Catherine Ragland, Committee Member Poovalur Sriji, Committee Member Joseph Klein, Committee Member and Chair of the Division of Composition Benjamin Brand, Graduate Advisor in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Trusko, Robert. “Before I Die…”: Original Composition with a Critical Essay Exploring the

Techniques of Six Crossover Composers. Master of Arts (Composition), August 2014, 106 pp., 5 tables, 22 examples, bibliography, 26 titles.

Candy Chang developed a public art installation where people are given the opportunity to write their answers to "Before I Die I want to ______." in a public space. I created one of these walls in Denton, TX and set it to music in a 12 minutes and 42 second piece titled Before I

Die..., which combines elements of South Indian carnatic music, gospel, R&B, jazz fusion, and minimalism. The composition was influenced by the music of several crossover artists Becca

Stevens, Michael League (Snarky Puppy), Nico Muhly, Poovalur Sriji, Tigran Hamasyan, and

James Blake. Crossover music, fusion, and third-stream are all synonymous terms used to describe music where multiple genres or styles are authentically combined. The purpose of this thesis is to examine the balance of musical elements in crossover works as well as how specific works composed by the artists mentioned have influenced the creation of the Before I Die... piece. Copyright 2014

by

Robert Trusko

ii ACKNOWLEDGEMENTS

I would like to thank several people who have helped me make it through this project.

To my friends who have shown me great music, support, and love. To all the musicians from the

Before I Die… performances who put in hours of their time to learn the parts and the madness: thanks to Jimin Lee, Marion Powers, Gabby Byrd, Jordan Coffing, Isabel Crespo for their vocal talents; to Brian Handleland, Mark Hartsuch, Jonathan Mones, Seth Ely, Daniel Matthews, and

Iver Sneeva for their skills on wind instruments; to the rhythm section Anthony Corsaro, Kelly

Ebler, Daniel Porter, Nick Olynchu, Robby Blades, Kent Shores, Elliot Liebman, Ben Greenburg; and to the string players Cameron Rehberg, Russell Robinson, Michael, Thao, and Erin Rich.

Thanks to the engineers Daniel Pardo and William de Alcuaz, to the videographers David

Sowden and Nick Zebrun. Thanks to Will Huebner, Taylor Wimberg, and Raena McEuin for helping set up, move, build, and promote the wall. Thanks to my roommates past and present for dealing with my madness. A special thanks to Katie Troutman for editing, advising, encouraging me, and loving me through this entire process. Without you there would be no thesis. I would also like to thank my professor Dr. Broberg.

iii TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS ...... iii

LIST OF TABLES ...... vi

LIST OF EXAMPLES ...... vii

PART I CRITICAL ANALYSIS ...... 1 Introduction ...... 2 Composer Backgrounds ...... 4 A Word about Transcriptions ...... 7 Techniques Applied to Before I Die… ...... 7 Polyphony ...... 7 Parallel Meter and Phrasing ...... 14 Applying Mora ...... 18 Rhythmic Stratification in Snarky Puppy’s Flood ...... 18 Feel and Groove ...... 20 Metric Subdivision ...... 22 Gospel Influence: Implied Harmonic and Rhythmic Elements ...... 23 Pacing in Snarky Puppy’s Flood ...... 27 Familiar Material ...... 29 Expanding Accessibility ...... 33 Snarky Puppy Marketing Method ...... 33 Marketing Model for Before I Die… ...... 34 Reaching a Wider Audience ...... 34 Discussion of Authenticity ...... 35 Friends not Hired Players ...... 36 Communal Effect...... 37 Conclusion ...... 38 Appendix: Extended Musical Examples ...... 40 Bibliography ...... 49

iv PART II MUSICAL SCORE ...... 51 Instrumentation ...... 52 Performance Notes ...... 52 Before I Die… ...... 53

v LIST OF TABLES

Page

Table 1: Rhythmic Groupings in Becca Steven’s Weightless ...... 16

Table 2: Harmonies from Snarky Puppy’s Flood, B Section (1:56-2:51) ...... 25

Table 3: Harmonies from Snarky Puppy’s Solo of Second A Section (3:20-4:21) ...... 25

Table 4: Formal Structure of Flood ...... 28

Table 5: Chord Comparison of m.154-161 and m.174-189 in Before I Die… ...... 33

vi LIST OF EXAMPLES

Page

Example 1: Opening of Nico Muhly’s Mothertongue Melodyne Analysis ...... 8

Example 2: Opening of Before I Die… Melodyne Analysis ...... 9

Example 3: Before I Die… Canon (m.128-145) ...... 11

Example 4: Transcription of Becca Stevens’ Hocket (2:06) ...... 12

Example 5: Before I Die… Polyphony (m.206-213) ...... 13

Example 6: Carnatic Groupings in 7/4 ...... 15

Example 7: Carnatic Shapes in 7/4 ...... 16

Example 8: Tigran Hamasyan’s Road Song Phrase Groupings ...... 17

Example 9: Tigran Hamasyan’s Road Song Phrase Groupings Part 2 ...... 17

Example 10: Carnatic Rhythms and Mora in Before I Die… ...... 19

Example 11: Transcription of Drum Machine in James Blake’s Unluck ...... 22

Example 12: Drum Machine Part in Before I Die… ...... 22

Example 13: Before I Die…. Keyboards (m.206-213) ...... 26

Example 14: Before I Die…. Keyboards (m.314-325) ...... 26

Example 15: Before I Die…. Keyboards (m.266-273) ...... 27

Example 16: Before I Die…. Keyboards (m.105-111) ...... 27

Example 17: Comparison of Lines in B Section and Drum Solo of Flood ...... 28

Example 18: Transcription of Middle Section (1:55) of Tigran Hamasyan’s Road Song...... 31

Example 19: Before I Die… Voice (m.154-161) ...... 32

Example 20: Before I Die… Voice (m.174-189) ...... 32

Example A.1: Transcription of Becca Steven’s Weightless m.(1-27) ...... 40

Example A.2: Transcription of Snarky Puppy’s Flood (m.1-28) ...... 46

vii PART I

CRITICAL ANALYSIS

1 Introduction

In 2011, Candy Chang developed the art installation Before I Die... in New Orleans. The installation was a chalkboard built on the side of an abandoned house covered with a grid of stenciled words that stated "Before I Die I want to ______." The wall gave people the opportunity to write their personal thoughts in chalk and allowed them to connect with the community. The Before I Die… wall reminded people that no individual is alone and that people are mortal. Since the first installation in New Orleans, over 400 walls have been created in more than 25 languages and built in over 60 countries.1

The Before I Die… concept, coined by Candy Chang, served as an inspiration for not only my thesis, but it also laid a foundation for my own creative thought and compositional perspectives. I created a piece of music with a text drawn from several Before I Die… walls which also included an installation that several colleagues and I constructed at the University of

North Texas Library Mall in Denton, Texas. The piece entitled Before I Die... is 12 minutes and

42 seconds in length, and it combines elements of South Indian carnatic music, gospel, R&B, jazz fusion, and minimalism. The 21-player piece includes the following instrumentation:

• 4 voices: 2 sopranos, 2 altos

• 4 winds: flute, alto saxophone (doubles clarinet), tenor saxophone (double clarinet and bass clarinet), trumpet (doubles flugelhorn)

• String quartet: violin I, violin II, viola, cello

• 2 electric guitars (volume pedal, 1 octave shifter, distortion, reverb)

• Keyboard (Fender Rhodes sound)

• Drum set

1 “Before I Die.” Candychang.com. Accessed January 30, 2014. http://candychang.com/before-i-die-in-nola/

2 • Amplified bass (double bass and electric bass)

• Electronics (Ableton Live playback of file, interface, splitters, and headphones for 22 performers)

The musicians who premiered the work included jazz, world music, and classically trained alumni and current students from the University of North Texas. The work was premiered on Saturday, November 23, 2013 at 8:00 pm at The Warehouse; a part of The

Panhandle House located at 313 N Locust St, Denton, Texas 76201. The entire Before I Die… project included a three-hour concert, a recording session, a documentary, a live video recording, an art installation, and promotion. Thanks to the hard work of my team and I, we successfully raised $1,900 for the project through Kickstarter.

The Before I Die… composition begins with a static texture that utilizes swelling chords.

The texture thickens with pre-recorded voices and vocoder, both of which state text from the wall. The work then moves through several new textures including a slow groove with a vocal canon and a sobering interjection from the keyboard and voice. The piece also includes compositional techniques of hocketing, improvised solos, canons, pedal points, lush harmonies, and half-step dissonances, which ultimately build to a climax at the conclusion of the piece.

The composition was influenced by the music of several performers and composers including Becca Stevens, Snarky Puppy, Nico Muhly, Poovalur Sriji, Tigran Hamasyan, and James

Blake. These artists all have one primary trait in common: their music is considered crossover music. Crossover music, fusion, and third-stream are all synonymous terms used to describe music where multiple genres or styles are authentically combined. The purpose of this thesis is to examine the balance of musical elements in crossover works as well as how specific works

3 composed by the artists mentioned above have influenced the creation of the Before I Die... piece.

Composer Backgrounds

Becca Stevens

Becca Stevens is a composer, singer, lyricist, and multi-instrumentalist that grew up as a member of a musical family. Both her brother and father compose classical music. In high school, Stevens attended North Carolina School of the Arts where she studied jazz and classical guitar. Following high school graduation, Stevens attended the New School in New York City for jazz and contemporary music. She has collaborated with jazz greats such as pianist Brad

Mehldau and vocalist Gretchen Parlato. In 2014 Stevens worked with contemporary classical composer Timo Andres at the Ecstatic Music Festival. Her band, Becca Stevens Band, is a folk ensemble with the following instrumentation: double bass, percussion, guitar (doubling on ukulele and charango), accordion (doubling on piano), and voices. The members Liam Robinson

(accordion, keyboards, vocals), Chris Tordini (upright bass, vocals) and Jordan Perlson (drums and percussion) all attended college for jazz. The ensemble combines elements of classical, jazz, pop, and folk music into well-crafted songs and arrangements. Specifically, Steven’s music has dense harmonies, canons, odd phrase structures, hocketing, and a wide range of timbres.2

Nico Muhly

Nico Muhly is a composer and pianist who received his degree at the Julliard School of

2 “About,” Beccastevens.com, http://www.beccastevens.com/about, (March 28, 2014).

4 Music. Muhly has written for many classical mediums and has received a commission for his opera Two Boys to be performed at the New York Metropolitan Opera. In addition to his strictly classical music, Nico Muhly collaborates with Bedroom Community label mates Sigur

Rós. Muhly has also created string arrangements for Björk. Muhly’s original compositions commonly use electronics, synthesizers, and sampling techniques that are present in popular electronic dance music. Aesthetically, much of Muhly’s music is influenced by minimalism, specifically the styles of Steve Reich. Muhly includes the use of additive samples as well as large swelling sonorities.3

Poovalur Sriji

Poovalur Sriji is a composer and mridangam player who teaches the South Indian Bridge

Cross Cultural Ensemble at the University of North Texas. Sriji has created many works for the ensemble and has also performed around the world playing many genres of music. Sriji has given over 1,000 carnatic concerts since 1976. In 1996 Sriji collaborated with Bela Fleck and received a Grammy nomination. Sriji’s original compositions are not typically written for a fixed ensemble, but rather the works are adapted to whatever instrumentation is available for the performance. His music combines rhythmic and scalar concepts from carnatic music and interlocking parts from gamelan music. Sriji often collaborates with his students to create new pieces that can also involve any of the musical influences of the students. These influences typically include jazz, classical, and rock music.4

3 “Biography,” Nicomuhly.com, http://nicomuhly.com/biography, (Feb 7, 2014).

4 “About,” Poovalur.com, http://www.poovalur.com/about.html, (January 30, 2014).

5 Michael League

Michael League is a bassist, composer, arranger, and producer who attended University of North Texas. League’s music is primarily written for his ensemble, Snarky Puppy, which is a group that combines elements of gospel, R&B, Afro-Caribbean, and jazz music. The ensemble is

a collective of over 30 musicians who studied music through various music institutions, including the University of North Texas, as well as African American gospel churches. While on tour, the ensemble typically consists of bass, drum set, percussion, guitar(s), keyboard(s), trumpet(s), and saxophone. Within the recording studio the ensemble also utilizes strings, singers, and additional players of the previously mentioned instruments. The music is defined on their website as, “music for the brain and the booty,” implying that not only can the music be complex and virtuosic, but it will make the listener want to dance.5

James Blake

James Blake is a pianist, composer, vocalist, and producer known for his electronic

music. He attended the University of London and received a degree in popular music. Blake’s self-titled album explores the combination of electronic music, such as dubstep, with elements of gospel, R&B, and hip-hop. The album layers harmony, intricately incorporated autotune and

vocoder, glitched drum machines, and well-paced structures.6

5 “About,” Snarkypuppy.com, http://snarkypuppy.com, (March, 2014).

6 Edwards, Rhiannon. James Blake: my university experience. The Telegraph, (September 5th, 2013).

6 Tigran Hamasyan

Tigran Hamasyan is an Armenian pianist, composer, and vocalist known for his compositions that combine classical, jazz, Armenian folk, and popular electronic music. In 2013,

Hamasyan won the Vilcek Prize for Creative Promise in Contemporary Music. During the same year, he also released his most recent album Shadow Theatre. Hamasyan’s ensemble typically consists of piano, drum set, bass (acoustic and electric), saxophone (doubles on flute), and voice. On recordings, violin is often present.7

A Word about Transcriptions

After studying these works in depth I created original transcriptions. Some of the transcriptions show each individual part while others only show specifically excerpted parts that are discussed in further detail. Some transcriptions are presented in graph form while others are in standard notation.

Techniques Applied to Before I Die…

The following section explores techniques from the previously mentioned composers and how the techniques have been applied to the Before I Die… work. The section begins by looking at polyphonic textures.

Polyphony

Polyphony is defined by Oxford Dictionary as “…the style of simultaneously combining a

7 “Biography,” Tigranhamasyan.com, http://www.tigranhamasyan.com/biography, (Feb 7, 2014).

7 number of parts, each forming an individual melody and harmonizing with each other.”8 In the

music explored in this document, each musician has an independent linear pattern, which layer

upon each other to contribute to the texture. Each is interdependent upon the other parts in order to create the overall experience.

Polyphony in Nico Muhly’s Mothertongue

Nico Muhly’s Mothertongue opens with a voice saying letters of the alphabet, followed by a second, third, and fourth voice enters speaking syllables at different rates. This creates a cascading effect that is interrupted by bells and flute in the upper register. The high flute and bells are then answered by a heavily bit crushed, or distorted, cello. Example 1 depicts the entrances of the instruments over time. Note that each of the descending voices is accompanied by a violin.

Example 1: Opening of Nico Muhly’s Mothertongue Melodyne Analysis

8 Oxford Dictionary Online, (March 31st, 2014).

8 For the opening of my composition, I utilized textural ideas like those of Nico Muhly’s

Mothertongue to create a wash of sound over swells of distortion. In many of his works, Muhly asks musicians to sing pitches in indeterminate rhythmic patterns while improvising upon a specific text (i.e. states, days of the week, letters, numbers, etc.). Within Before I Die…, I used text from the wall that my colleagues and I built, and, after prerecording certain texts, developed a texture of drones, speech, and singing. In contrast to Muhly, I used prerecorded vocoders, which played the various rhythms and pitches of the phrase “before I die.” These various rhythms swell from a distorted bass note. Example 2 demonstrates the entrances of the instruments over time within the Before I Die… piece.

Example 2: Opening of Before I Die… Melodyne Analysis

Polyphony in Becca Stevens’ Weightless

Becca Steven’s Weightless is a work for three voices, double bass, guitar, drum set, and accordion. Two different polyphonic textures are present within the work: canon and hocket.

9 During the first section of the piece listeners are introduced to the original melodic phrase

(m.1-10). The phrase operates as a run-on sentence that is quite complex. This idea repeats and is then found in canon in all three voices at 1:14 in the recording: Stevens enters on beat one,

Liam Robinson enters on beat three, and Chris Tordini enters on beat four. The singers perform in a staccato style so that each voice’s articulations can be clearly heard. Because Steven’s voice is an octave higher than the other two singers, there is a separation between her part and the other two. Further making this distinction is that Robinson and Tordini’s parts are one beat apart from each other. These staggered entrances contribute to a greater wash. Tordini’s part is lower in the mix, which makes it sound more like a quarter note delay of Robinson’s part.

Example A.1 in the appendix is a complete transcription of measures 1-27 of Becca Steven’s

Weightless.

The intricacy and rhythmic complexity of the canon found from measures 20 to 27 is supported by the diatonic melodic construction and the regular harmonic foundation. Each bar alternates between G major and F major.

My personal examination of Becca Stevens’ canon in Weightless gave me knowledge about how canons can be phrased. Studying Steven’s canonic writing also provided me with a deeper understanding of the structural elements involved in the development of canons. When

I built the canon for my piece I maintained a simple harmonic rhythm similar to the canon in

Weightless. The harmony alternates between BbMaj7 and FMaj7. In order to explore other colors I moved the bass around to create other chords with these upper voicings. Example 3 is an excerpt from Before I Die… showing the vocal canon and harmonies.

10 Example 3: Before I Die… Canon (m.128-145)

During the 11/8 section of Weightless (1:44) the melodic line is hocketed between all three voices. The use of hocket in this particular moment in Weightless provided the basis for intense melodic gesture. This section includes seven different musical ideas performed by four performers. No musician plays the same linear idea, but several of the ideas are supported by each other. The drum set supports Stevens’ guitar part, while the accordion line supports all three vocal parts. Audibly studying this particular excerpt reveals that the vocalists embellish and color the line of the accordion.

11 Example 4: Transcription of Becca Stevens’ Hocket (2:06)

Like the Stevens example, in measures 206-209 of Before I Die… there are ten different rhythmic ideas laid on top of one another. The four vocalists construct an ascending hocketed phrase, the guitars interlock a 4+3 phrase, the winds alternate 2+2+3 and 3+2+2 patterns, while the bass, keyboards, and drums play a 2+2+3 phrase. The winds create the melody and the rest of the ensemble plays interlocking supporting textures.

12 Example 5: Before I Die… Polyphony (m.206-213)

13 These interlocking phrase structures can also be found in other kinds of music, including

the Balinese gamelan and the Shona mbira music. In the Balinese gamelan, a type of percussion

ensemble, players perform short motives which are layered with other instruments and

ornamented, creating a wash of sound. In Shona mbira music, there are interlocking rhythms

and call-and-response sections. In both of these kinds of music as well as in Before I Die…, the interlocking parts serve as communal elements in the way the music is performed and experienced.

Parallel Meter and Phrasing

Several elements found within Before I Die… are directly linked to my experiences in the

UNT South Indian Cross Cultural Ensemble. After studying South Indian carnatic music for two

years with Poovalur Sriji, one specific South Indian rhythmic concept that I learned involves the

use of simultaneously occurring meters. This concept is found throughout many of the works

studied and examined in this project. In western composition this particular concept is called parallel meter. In his thesis Aspects of Rhythm in the Music and Improvisations in Six Pieces by

Avishai Cohen, Nicholas Abbey describes concept of parallel meter as:

the juxtaposition of two or more meters of the same temporal length with the same basic subdivision for deliberate exploitation by the soloists and accompanists. Specifically, this concept is only applicable to rhythmic structures established by the composition, preventing confusion with typical cross-rhythms. (Abbey, 2011, ii.)

Within carnatic music it is possible to hear many divisions of a meter. In 7/4, for

example, a western-trained musician may think of the subdivisions of eighth notes in 4+3 or

3+4. A carnatic musician, however, may apply a variety of different groupings. The simplest variations of “subdivision” in carnatic music involve splitting the four into two groups of two.

14 The musician would then move the location of the grouping of three into different parts of the measure. Below are several examples that depict various carnatic subdivisions through the use of numerical values. They could play all subdivisions of each grouping or just the first note of the grouping. I learned these specific concepts from Poovalur Sriji. Each number represents a grouping of eighth notes, and each line represents a rhythmic phrase.

Example 6: Carnatic Groupings in 7/4

4 3 3 4 2 2 3 3 2 2 2 3 2

If the number of bars is doubled the possibilities increase:

8 6 6 8 4 4 6 6 4 4 4 6 4

This grouping could be further divided and manipulated:

2 2 2 2 3 3 2 2 3 3 2 2 3 3 2 2 2 2 1 1 2 2 3 3 4 4 4 4 3 3 2 2 1 1

This idea and all previously mentioned ideas could be played backward and forward. The versatility of parallel meters creates crescendos and decrescendos as well as diamond or hourglass shapes. The diamond and hourglass shapes work as palindromes.

15 Example 7: Carnatic Shapes in 7/4

In addition to my personal uses of these tools in composition, these detailed rhythmic

conceptualizations and methodologies can also be applied when listening to works by other

artists. During Becca Stevens’ song Weightless, the opening melodic line is in 4/4, although her

lyrical phrases form groupings that are not commonly found in 4/4. When applying the carnatic

method of listening one could hear the opening bar phrased as 3+3+3+3+4 and the subsequent

bar as 4+3+3+4. In the following table the groupings are broken down for the opening melodic

line of Weightless. The parentheses in the following table represent each bar. In the case of measures 4 and 5, two parentheses are given on each side because the groupings continue over the bar line.

Table 1: Rhythmic Groupings in Becca Steven’s Weightless

Measure Number Grouping 1 & 2 (3+3+3+3+4)(4+3+3+4) 3 & 4 (3+3+3+3+4)(4+3+3+4) 4 & 5 ((3+3+2+2+2+2+3+3+3+3+3+3)) 6 & 7 (4+4+2+3+3) (3+3+3+3+4)

16 When the band enters in measure 10, the groupings continue to generally support the

concept of parallel meter through 3+4+3+3+3 phrasing with every fourth bar sounding as

3+4+3+4+2. This concept can also be applied to the third section of Tigran Hamasyan’s Road

Song.

Road Song, a work for piano, violin, two voices, double bass, and drum set, presents a

micrometer at 1:55 that operates as follows: 10+12+12+14. These particular groupings were

determined by the volume and the register of each note of the melody. The C-D on the last two

beats of the 2nd, 4th, and 6th measure represent the beginning of each phrase (see example 8a).

When the phrase repeats, the groupings stay the same (example 9). Examples 8 and 9 show how the groupings may be heard:

Example 8: Tigran Hamasyan’s Road Song Phrase Groupings

Example 9: Tigran Hamasyan’s Road Song Phrase Groupings Part 2

Measures 206-229 of Before I Die… contain parallel meters: the winds play 4+3 continuously while the keyboards play 2+3+2+2+2+3. The melody, in groups of 4+3, occurs in

two-bar phrases through the use of long rhythmic durations that soar over the texture. At

measure 265 the groupings change, so that the melody sounds as though it is in 4+3 and the

accompaniment is in groupings of (2+2+3) (2+2+3) (2+3+3+3+3). The use of parallel meters

provides rhythmic tension and ultimately creates a sense of unpredictability and continuous

forward momentum. Measures 206-213 can be viewed in example 5.

17 Applying Mora

Before I Die... begins with metric groupings of 4/4 in the winds, strings, voices, and

electronics. In measures 56-89 in Before I Die… guitar 1 and acoustic bass double a reducing

rhythmic idea from South Indian music. First the idea is introduced as five held beats, which

gradually introduce five groups of five sixteenth notes. The idea then reduces to five quarter

notes three times, and finally appears as groupings of five eighth notes three times.

The first figure occurs seven times, the two-note figure occurs five times, the three-note phrase occurs six times, and the ascending four-note motive occurs twice. Starting at rehearsal letter D, the final phrase acts as a rhythmic cadence also known in carnatic music as a mora. In a mora, or rhythmic cadential pattern, each motive occurs three times and each idea is a diminution of the previous motive. In this case, the mora is three repetitions of a four-note

phrase consisting of a duration of five eighth notes, followed by three repetitions of four

quarter notes, and finally three repetitions of a four dotted eighth note phrase. Example 10

demonstrates the reduction and utilization of mora.

Rhythmic Stratification in Snarky Puppy’s Flood

In Snarky Puppy’s Flood there is a singable melody as a primary focal point. The melody

is accompanied by a danceable groove. A closer analysis of the song will show that the groove is

in 7/4; the drum set plays in large phrases of 7/4 while the keyboard and guitar phrase in

quicker measures of 7/8. The beginning of the melody sounds as though it occurs on the upbeat,

because the listener perceives the time in 7/4, as opposed to two smaller measures of 7/8.

18 Example 10: Carnatic Rhythms and Mora in Before I Die…

It should be noted that the bassist and drummer phrase lines across the bar line which

connect the sparse melodic phrases. This creates a more interactive energy in the band and

pulls the listener further into the piece. Example A.2 in the appendix provides a detailed

transcription of the first 28 measures.

Another example from the same composition is found in the B section. The melody contains long sustained notes that float above a groove; the meter feels like a large two in a compound meter that indicates a 6/8 time, though in actuality, the larger two is divided into two groups of 5/8 and the 5/8 meter is ultimately masked by layers of polymeter. The percussionist plays a groove of two dotted eighths and a quarter note which masks the feeling of the first three eighth notes. 3+2 is generally a more difficult rhythm to feel than 3+2, which

19 makes it seem more disorienting. The bass supports the idea of two, as well as the long soaring

melody. When focusing on the duration of the individual notes in the melody, it becomes clear

that the groupings are uneven, which implies the 3+2 phrasing.

Flood is similar to Before I Die… in several aspects including meter and groove. Like

Flood, the meter for my piece can be felt in either a quick 7/8 or a moderate 7/4. As mentioned previously, Before I Die… contains several layers with different rhythmic groupings, relating to both the South Indian style and to the music of Snarky Puppy. It must also be mentioned that the idea of feeling a piece simultaneously in two different time signatures is an indigenious trait to African music, such as Shona mbira music, as well as Afro-Carribean music.

Feel and Groove

Ben Ratliff’s article, Music: Out of a Rut and Into a New Groove, describes the change

from the R&B sound of the 90s to the development of neo-soul. Ratliff explains that early 90’s

R&B was focused on releasing singles, cookie-cutter designs, and primarily electronically-

produced sounds. In 2000 came D’Angelo’s sophomore album Voodoo, which defined a new

sound. One of the album’s singles, Untitled, defies all rules of this previous style. The music is

more groove oriented, focused on the band (the vocals were lower in the mix), and had live

musicians on the record as well as live performers. Artists like D’Angelo and Maxwell became

singer-songwriters and were including elements of other genres such as jazz and music of other

cultures. This was the beginning of neo-soul music, which made references to the music of the

60’s and 70’s, with modernized grooves and additional influences.

20 In much of the music that influenced Before I Die…, there is a specific feel and groove

that is essential for performance. This is the sound made famous by producer J-Dilla, drummer

Ahmir Questlove Thompson, bassist Pino Palladino, keyboardist James Poysner, trumpeter Roy

Hargrove, and vocalist D’Angelo. In D’Angelo’s album Voodoo, J-Dilla started to develop drum machine parts that were not perfectly in time. This unevenness created a more human feel.

Instead of quantizing and making short two-bar drum loops, J-Dilla recorded lengthy 128

measure tracks of programmed drums. Within these tracks, small metric glitches would occur

such as a late snare. This human feel is part of what set J-Dilla’s production apart from many

other producers. Once the drum machine was recorded, Questlove and Piano Palladino would

record a groove that locked with the “off the grid” programmed drums. Often Questlove’s

snare and high hat consistently laid behind the beat, while the bass drum was on the beat.

Palladino’s bass line laid before and behind the beat. Palladino describes this feel in an article in

Slate by Jason King:

Hip-hop is music that’s been deconstructed, it's made up of bits of samples arranged in different places and often placed behind the beat. The way people sampled stuff influenced D[’Angelo] in terms of the way he would write his music. When I first heard the backing tracks for Voodoo, it struck me as the kind of thing J-Dilla would do, how he would deconstruct and reconstruct rhythms and just kinda deliberately mess things up. So you get these messed-up wobbly rhythms. You know, Dilla might take a four-chord pattern and start it on the second chord. D does that kinda thing too in his writing. (King, 2013)

This particular style and feel can be found in a variety of music that inspired the Before I

Die… project including African American gospel, the music of Snarky Puppy, Tigran Hamasyan,

and James Blake. On Blake’s track Unluck, the opening section contains the J-Dilla feel.

21 Metric Subdivision

In Unluck, the drum set provides a loose foundation for the song. In the first section of

the song, the snare sample lies incredibly far the behind the beat; this instability creates an

uneasy sensation. During the chorus section (0:55), the high hat alternates between various

subdivisions of 4 and 3. The drum machine part is a six-beat loop that occurs in a four-bar

phrase, which helps intensify that feeling of instability.

Example 11: Transcription of Drum Machine in James Blake’s Unluck

During Before I Die… I used alternating subdivisions of the bar moving between tuplets

of 3, 4, 5, 6, and 7, which can be seen in Example 12. The prerecorded drums and electronics from measures 117-173 are in a style reminiscent of both J-Dilla and James Blake: the prerecorded electronics push and pull much like J-Dilla’s drum tracks, while the keyboard parts recorded into the electronics are modeled after the sound of Blake’s Prophet ’08 keyboard.

Similar to Blake’s song I Never Learnt to Share, there is a chromatic build-up that utilizes glitched drums and dissonant keyboards.

Example 12: Drum Machine Part in Before I Die…

22 Gospel Influence: Implied Harmonic and Rhythmic Elements

Many elements of African American gospel music involve the concept of implied musical materials. In the second B section of Flood, Robert “Sput” Searight, a gospel drummer from

Dallas, performs virtuosic metric modulations. Many gospel drummers often practice or “shed” together, where one drummer holds a groove while the other solos.

On Saturday, October 19, 2013 I had the privilege of attending one of the most successful Dallas drummer’s clinics at Zion Chapel in Lancaster, Texas. The drummer’s name is

Cleon Edwards and he currently plays for Erykah Badu as well as RC and The Gritz, RSVP, Jill

Scott, Snarky Puppy, and in the gospel field.

Cleon explained the concept of a drummer shed, where two drummers play at the same time. One holds groove while the other solos and fills. They then switch roles, with the idea that each player is supposed to improve over time. He had all of the members of the clinic participate in a mini-shed. As each person played, Cleon brought up other musical techniques to make the drumming more interesting. He talked about dynamics, which many of the younger drummers lacked, as well as the idea of supporting the main idea. When soloing, Cleon explained that the soloist may play anything he/she desires—including various time signatures, feel, metric modulation—as long as the soloist ends in the phrase. Another way of describing this is that the original groove is to be implied during the solo.

This implied rhythmic element can also be applied to the role of the bass player. Michael

League, a seasoned gospel bass player, often implies grooves when performing. From the first

28 measures of Flood, it becomes clear that the bass player plays many variations of the same line with different syncopated rhythms. In measures 20-21, League plays a phrase over the bar

23 line which ends inside of the implied groove. Unlike other styles where the bass plays the same pattern in an ostinato fashion, this style allows the player to improvise around the groove, not just create exact repetitions.

Another example of implied musical materials is found within the harmonies of Snarky

Puppy’s Flood. The piece opens with two alternating chords, each of which is relatively ambiguous and allows for the chord to be heard many different ways. The first chord is F#-C#-

D#; the D# resolves to the E, implying that we are perhaps in the key of E major. The second chord, spelled as A-B-C#-G#, more clearly suggests an AMaj7 harmony. The bass player enters in the 5th measure playing a lick in B minor pentatonic to further obscure the key center in the

work. With a B sounding in the bass, the resulting first chord is a B-11 (B-F#-C#-E). The same

bass lick occurs over the second chord, continuing the harmonic ambiguity, as the chords seem

to float over the bass part.

This type of ambiguity is an example of implied musical materials. Throughout the

song’s A section, the keyboard part has the same two alternating chords, while the changing

bass notes result in different harmonies, allowing for more improvised reharmonizations and

more freedom in the bass part. Such elements commonly occur in traditional and

contemporary African American gospel music.

Another example of implied harmonies can be found in Flood’s first B section. The

keyboard and guitars play the notes F#-G#-D# for the first chord and G-A-E for the second. The

bass line moves to different notes creating unique sonorities, even though the same two

alternating chords continue in the keyboards and guitar. Both chords in the keyboard and guitar

parts are suspended chords. Below is a table describing the various bass notes and the resulting

24 harmony throughout the first B section of Flood. In measures 47-48 the resulting harmony is an

A7sus because the string melody includes a D, thus completing the chord.

Table 2: Harmonies from Snarky Puppy’s Flood, B Section (1:56-2:51)

Measure Piano/ Guitar Notes Bass Part Resulting Chord 29-30 F# C# D# C# C#sus9 31-32 G A E G Gsus9 33-34 F# C# D# C# C#sus9 35-36 G A E G Gsus9 37-38 F# C# D# C# C#sus9 39-40 G A E G Gsus9 41-42 F# C# D# C# C#sus9 43-44 G A E E Emin(add11) 45-46 F# C# D# F# D#sus/F# 47-48 G A E A A7sus

During the second solo section in the song (3:20), there is another example of implied harmonic materials. Instead of playing phrases in B minor pentatonic or E major, this time

League alternates between a C# Minor pentatonic, A Lydian, and occasionally F# Dorian.

Table 3: Harmonies from Snarky Puppy’s Solo of Second A Section (3:20-4:21)

Measure Piano/ Guitar Notes Bass Part Resulting Chord 57 F# G# E C# C#min(add11) 58 A B C# F# A AMaj(add13) 59 F# G# E C# C#min(add11) 60 A B C# F# A AMaj(add13) 61 F# G# E C# C#min(add11) 62 A B C# F# A AMaj(add13) 63 F# G# E C# C#min(add11) 64 A B C# F# A AMaj(add13) 65 F# G# E F# F#min9(no 3rd) 66 A B C# F# A AMaj(add13) 67 F# G# E F# F#min9(no 3rd) 68 A B C# F# A AMaj(add13) 69 F# G# E F# F#min9(no 3rd) 70 A B C# F# A AMaj(add13) 71 F# G# E C# C#min(add11) 72 A B C# F# A AMaj(add13)

25 A comparable framework applied to several parts of Before I Die…. In measures 174-246, a four-chord harmonic pattern occurs, as shown in example 13.

Example 13: Before I Die…. Keyboards (m.206-213)

The chord sequence starting measure 314 uses the same GbMajor7(no3rd) and Ab

Major7(no3rd) voicing, but now with new bass notes, a B for the first chord and a Db for the second.

Example 14: Before I Die…. Keyboards (m.314-325)

Another example of this harmonic approach occurs in measure 266 where the bass note plays a pedal F as the chords move from GbMaj9(no 3rd) to AbMaj9(no 3rd) to BbMaj7(add11).

26 Example 15: Before I Die…. Keyboards (m.266-273)

A more abstract relationship to the gospel-style chord construction is at the beginning of the work, when the keyboard part consists of two stacked triads on top of one another.

Measure 105 has an A major chord in the right hand for the whole measure, while the left hand plays A major, B major, and finally G major chords.

Example 16: Before I Die…. Keyboards (m.105-111)

The descending bass line during the canon of Before I Die… is a reflection of the implied musical materials mentioned previously during the discussion of Flood.

Pacing in Snarky Puppy’s Flood

The musical and technical facility of the Snarky Puppy aids in shaping the overall contour of their composition Flood. Even though the keyboard part stays the same, the bass groove changes rhythm and serves to push the music forward. Players perform fills and secondary gestures over the bar line, which also help provide forward motion through the work.

27 There are only a few motives found in Flood: an A section melody with

accompaniment, a B section melody with accompaniment, and B’ section, which has a longer

melody than the original B section. The texture of the B section motive becomes more intense

over time by changing the guitar riff to a half-step in the bottom. Example 17 compares the

guitar line from the first B section of Flood (1:56) with the solo section of Flood (5:57).

Example 17: Comparison of Lines in B Section and Drum Solo of Flood

The B’ section advances with a feel of the larger 5/4, combining elements of the A

section groove into the B’ accompaniment. An augmented version of the B section melody is

introduced at the end of Sput’s drum solo while the tension continues building.

Table 4: Formal Structure of Flood

Measures Section Meter Melody Accompaniment 1-8 Introduction 7/4 None A 9-28 A 7/4 A A B 5/4 B B A 7/4 A A' New Bass Line B' (Drum Solo) 5/4 B' B' + A' Bass Line C 4/4 B'' C+ A' Bass line

The piece builds progressively until 7:10, where there is only drum set and guitar, creating an

element of uncertainty before the band falls into a backbeat 4/4 groove. This continues until a

false ending (C section) where the groove returns one more time. Table 4 shows sections of

Flood and the derivation of the composition’s musical materials.

28 Snarky Puppy’s Flood is a well-paced piece, developing each motive slowly and

deliberately. Its additive block form effectively supports an improvised framework by the

rhythm section and soloists. As a result, the work invokes a visceral response and an energy

that must be engaged by the audience. This pacing as well as similar models such as The Funky

Knuckles’ song Rain Journey were incredibly influential on the creation of Before I Die....

Specifically, the end section of Before I Die… builds with a drum solo and then with a guitar solo

at the climax. The work alternates between sections and doesn’t introduce new material, specifically the BbMaj7(add11) chord, until late in the piece. Before I Die… also operates on an

additive structure where ideas are layered on top of each other.

Familiar Material

When listening to the drum solo in Flood, the listener can follow the guitar part throughout the entire section. Familiar or constant material can keep a listener grounded through more complicated musical textures. For example, the opening descending third motive

of Beethoven’s Fifth Symphony can be heard throughout the first movement of the piece. This motive becomes distorted and the amount of musical information increases as the composer takes the listener on a journey. Similarly, the opening texture in Mothertongue is a constant that keeps the listener grounded as interjections occur from high winds and pitched percussion.

During many carnatic performances the mridangam, much like the drummer in a gospel setting, the player often performs virtuosic rhythms while the rest of the ensemble keeps tala, a form of conducting.

29 In the case of Becca Steven’s Weightless, the melody is difficult to sing and may not be easily retained in the listener’s ear. The rhythm is complex, and involves parallel meter. The most constant element of this piece is the text, which repeats and serves as a guide through the various textures of the piece:

There’s nothing like witnessing the moment that a life lets loose and falls to the ground weak autumn winds tip and easy like a wish upon weightless dandelion seeds each life beaming at its brightest now falling the road rises up to greet and is painted for the day sacred to witness when life lets loose and be grateful for this gift (Becca Stevens 2011).

The repeated text occurs three times before moving to a different text; with each iteration, the texture becomes additively more intricate.

When the text first enters, it is sung by two voices and accompanied by guitar. The bass enters during the first stanza and the drums enter during the interlude after the first stanza.

The texture builds during the second repetition, with the swelling accordion chords and sustained background vocals providing forward motion. In the third stanza, the melody is presented in canon, adding to the intricacy of the texture and building until a release in the second section in 11/8.

A similar model of introducing materials with an additively complicated texture may be found in Tigran Hamasyan’s Road Song. In this work, Hamasyan takes an idea and repeats it with alterations. Once the idea has started to develop, he will occasionally restart with a new idea. The opening gesture of Road Song he begins with solo piano, with the voice and violin

30 joining in the fourth bar, soon after accompanied by the bass. This second four-bar phrase ends with a “hiccupped” gesture and then the opening motive is repeated. This gesture is then replaced by another solo piano idea, which is a rhythmically more complex version of the original idea that develops again into something still larger.

Another example of a constant musical element may be found in the middle section of

Road Song. During this 6/8 section, the piano is playing a quick and constantly-changing motive while the vocalist and violinist perform a long legato line above the melody. The complexity of the piano part is grounded by the simplicity of the melody. Example 18 is a transcription of the middle section of this work.

Example 18: Transcription of Middle Section (1:55) of Tigran Hamasyan’s Road Song

During the following section when the drum set enters, the accompaniment becomes even more complicated while the melody remains simple. This provides the listener with something to focus on while the background changes at a fast rate.

31 When composing the transition (m. 174-230) in Before I Die… it was difficult to find a way to connect the electronics section and the large melody at the end of the piece. After my first listen to Tigran Hamasyan’s Road Song, I realized that a keyboard-driven section would work wonderfully as a transition in my work. I used to the melody from the previous section at the start of the transition, but modulated it through the key of the next section of the work.

Using this melody provides continuity that the listener can recall through the changing context of the transition. Example 19 shows the original melody from measure 154, while example 20 shows the melody used during the transition in measure 174.

Example 19: Before I Die… Voice (m.154-161)

Example 20: Before I Die… Voice (m.174-189)

The transitional version of the melody has several features that create a sense of forward motion. At this point, the piece is moving at double speed with an arpeggiating piano

32 part based on four chords: one new chord (Gmin9), one chord from the canon (Dmin(add11)), and two chords from the 7/8 section (Ebmin11 and GbMaj7(omit3)). These chords continue repeating until the end of the section.

Table 5: Chord Comparison of m.154-161 and m.174-189 in Before I Die… Measure Original Measure Transition 174 Gmin9 154 BbMaj7 175 Dmin(add11) 176 Ebmin11 155 Dmin11 177 GbMaj7 (omit3) 178 Gmin9 156 BbMaj7/F 179 Dmin(add11) 180 Ebmin11 157 Amin7 181 GbMaj7 (omit3) 182 Gmin9 158 BbMaj7 183 Dmin(add11) 184 Ebmin11 159 Fmaj7/A 185 GbMaj7 (omit3) 186 Gmin9 160 BbMaj7 187 Dmin(add11) 188 Ebmin11 161 FMaj7 189 GbMaj7 (omit3)

Expanding Accessibility

In addition to examining these artists’ works, I have also studied the methods these artists have used to make a living and to reach an audience. This is a subject that often goes unexplored in academia, yet is an integral part of being a professional musician.

Snarky Puppy Marketing Method

During the Question-and-Answer session at Dan's Silver Leaf on February 19th, 2014,

Mike League discussed Snarky Puppy’s approach to touring and creating a fan base. League explained that they would play locations where people encouraged them to go. During set

33 breaks they would talk with the audience members and make friends. The band didn’t just talk, but would make a connection with individual audience members. League and the rest of Snarky

Puppy tell their fans inside information, which allow the fans to feel special. These fans and new friends then help draw larger audiences and connect them with venues to play in other areas. In addition to performing concerts, Snarky Puppy offers master classes and lessons to local high schools, music organizations, and colleges. These grass roots marketing campaign and educational outreach activities connect the audience to the band at a deeper level.

Marketing Model for Before I Die…

The Before I Die… project was approached in a manner similar to Michael League’s marketing method. Creating the wall on campus was a way for the general public to see the project in its early stages. Once the wall was constructed, people gathered around the wall and began to engage with it. Some people would pick up pieces of chalk and write their thoughts on the wall. Others would read the entire wall and contemplate the messages. People would often ask questions about the project to the person who was running the wall. These conversations led to developing relationships with the audience and making a connection with them. People would exchange stories with one another and develop a larger sense of community. When the event at the Warehouse Room occurred, more than half of the audience consisted of people from outside the music school, many of whom were people that I met personally at the wall.

Reaching a Wider Audience

One of the benefits to crossover music is that it has the capability to reach a wider audience than music composed in a single style. For example, Snarky Puppy combines elements

34 of jazz, gospel, and R&B. The crowd that they draw includes people that enjoy all three of these genres collectively, as well as people who only listen to one of these genres. Consequently, if

Snarky Puppy played only jazz they would not draw as many audience members.

While Nico Muhly’s music is primarily heard by the contemporary classical audience, he has also collaborated with Björk, has created string arrangements for Sigur Rós, and has improvised on piano in concert with Jónsi Birgisson, Sigur Rós’ front man,. Engaging in this popular music vein has allowed Muhly to be exposed to audiences that would not have heard his work, thus serving as a gateway for those listeners to experience his original pieces.

Part of the beauty of reaching a wider audience is that the music can be enjoyed and appreciated at various levels of understanding. From my own experiences at their concerts,

Snarky Puppy may make inside musical references to the music of D’Angelo or Chick Corea, which may relate specifically to the R&B and jazz fans in attendance, though everyone in the room will enjoy it.

Discussion of Authenticity

Many composers throughout Western classical music history have combined elements

of other styles in a new musical composition. For example, Renaissance composers would borrow a cantus firmus melody; in the Romantic period, Tchaikovsky used folk songs, and in the

Twentieth Century, Stravinsky used elements of jazz. Such borrowing still occurs today, the difference between the musical collaborations of the past and contemporary third-stream or crossover music is that the latter often incorporates musicians associated with these different styles: in order for crossover music to sound authentic, the players must be familiar with the

35 style they are playing. For example, if a Baroque string player articulates a line of stacatto eighth notes in a connected manner with heavy vibrato, specialists of the style would critize the performance as being inconsistent with performance practice of the period. Similarly, if a classical musician is playing an excerpt of a third-stream piece in a jazz style, the player must be able to emulate the rhythmic feel and phrasing of the proper style or the result will sound inauthentic.

In his book Musings The Musical Worlds of Gunther Schuller. Schuller describes the combination of jazz and classical music in third-stream music by what it is not:

It is not jazz with strings. It is not jazz played on 'classical' instruments. It is not classical music played by jazz players. It is not inserting a bit of Ravel or Schoenberg between be-bop changes—nor the reverse. It is not jazz in fugal form. It is not a fugue played by jazz players. It is not designed to do away with jazz or classical music; it is just another option amongst many for today’s creative musicians. (Schuller, 1986, 120)

Friends not Hired Players

A trend among the music of Becca Stevens, Snarky Puppy, Nico Muhly, Poovalur Sriji,

Tigran Hamasyan, and James Blake is that the music is created and performed by friends. In all of these musical entities, the relationships go beyond just performing on stage. Having deep and trust-based relationships with your performers leads to a deeper understanding of the music.

Almost all of the players on the Before I Die… project were close friends of mine. Having a close bond with the performers creates a realm of trust. The player and composer know each other’s strengths and weaknesses. We are able to be honest with one another and work

36 efficiently and effectively. Knowing the players allows the composer to write idiomatically to

the skill sets of the performer. This leads to a deep personal and musical connection. If the

music were given to a different musician, it would be more difficult to be performed in the

intended manner.

The first guitar part, for example, was written for my friend Kent Shores. The part involves heavy use of effects pedals, specific carnatic music ideas, an understanding of gospel stylistic traits, and the ability to improvise with rock and jazz vernacular—all elements that are

part of Shores’ musical experience. A similar example can be made of the drum set part,

composed for my friend Anthony Corsaro. Corsaro is familiar with playing behind the beat

grooves, improvisation in odd meters, and gospel-style drum set phrasing. If the player is not

familiar with these styles, the music will not sound authentic.

Communal Effect

Similar to the music of the gamelan, or Sub-Saharan African music this music is designed

to be a communal experience. Members of the Denton cultural community were able to

interact with the Before I Die… wall and make a connection. This communal experience was

translated into the music by incorporating prerecorded versions of text read from the wall,

similar to John Adams’ On the Transmigration of Souls. Many of the audience members were

people who had written on the wall and were curious how the text would be used. Several of

these audience members came up to me after the performance and mentioned to me what

they had written and how it affected them when they heard their comments read during the

piece.

37 In addition to the people drawn to the performance from the Before I Die… Wall, there

were many people in attendance to hear the band The Funky Knuckles, who were also featured

on the program. This band, a group of excellent musicians from Dallas, hosts a weekly Monday

night jam at The Freeman on Commerce Street in Dallas. The Funky Knuckles jam session is

mostly a tight group of Dallas professional and student musicians playing and watching music

together. Many of these people attended the Before I Die… performance, creating a diverse

crowd of new listeners for my music.

Conclusion

When composing, I find myself constantly dealing with obstacles. In order to overcome

these obstacles, I look to the music of others for inspiration and solutions. Examining the build-

up in Snarky Puppy’s Flood was a good model for Before I Die…, as an example of proper pacing and to reaffirm that only a few motives are needed to make a powerful work. It should be mentioned that in addition to Snarky Puppy, many of the implied materials techniques were brought to my attention by a band called the Funky Knuckles. During their weekly jam sessions,

I was able to learn about how drum solos over vamps work, as well as how implied harmony and rhythm can be applied to any song.

Additionally, the music of many other artists have influenced my compositions, whether through specific musical materials or more general concepts. The music of Jeff Buckley,

Porcupine Tree (composer Steve Wilson), and John Adams are always fresh in my mind when working on a new project. These musicians are able to develop musical materials in interesting ways, unhindered by traditional boundaries.

38 The musicians mentioned in this thesis are considered crossover artists because their music is informed by multiple genres. Such crossover music can serve as a gateway into other kinds of music because it may introduce audiences to styles of music they have never experienced before. Approaching music without genres allows the composition to be freer and to take a direction that could not be imagined if the composer’s mind was limited to a single aesthetic.

39 Appendix: Extended Musical Examples

Example A.1: Transcription of Becca Steven’s Weightless m.(1-27)

40

41

42

43

44

45 Example A.2: Transcription of Snarky Puppy’s Flood (m.1-28)

46

47

48 Bibliography

Abbey, Nicholas L. Aspects of Rhythm in the Music and Improvisations in Six Pieces by Bassist Avishai Cohen. Western Australian Academy of Performing Arts. 2011.

“About.” Beccastevens.com. Last modified March 28, 2014. http://www.beccastevens.com/about.

“About.” Poovalur.com. Accessed January 30, 2014. http://www.poovalur.com/about.html

“About.” Snarkypuppy.com. Last modified March, 2014. http://snarkypuppy.com.

Adams, John. On the Transmigration of Souls. Conducted by Lorin Maazel. Performed by New York Philharmonic. Nonesuch. 2002, CD.

“Before I Die.” Candychang.com. Accessed January 30, 2014. http://candychang.com/before-i-die-in-nola/

“Biography”. Nicomuhly.com. Last modified Feb 7, 2014. http://nicomuhly.com/biography.

“Biography.” Tigranhamasyan.com. Last modified Feb 7, 2014. http://www.tigranhamasyan.com/biography.

Blake, James. Unluck. James Blake. In James Blake. Recorded 2009-2010. ATLAS, A&M, Polydor. James Blake, 2011, CD.

Blake, James. I Never Learnt to Share. James Blake. In James Blake. Recorded 2009-2010. ATLAS, A&M, Polydor. James Blake, 2011, CD.

Chang, Candy. Before I Die I want to... Presentation at TED Global, Edinburgh, Scotland, July 2012.

D'Angelo. In Voodoo. D'Angelo. Recorded 1998-2000. Cheeba Sound, Virgin. D'Angelo, DJ Permier, Russell Elevado, J Dilla, Questlove, Raphael Saadiq, Dominique Trenier, 2000, CD.

Edwards, Rhiannon. James Blake: my university experience. The Telegraph, September 5th, 2013.

Funky Knuckles. Rain Journey. Caleb Sean McCapmbell. Recorded 2013. YouTube.

49 Hamasyan, Tigran. Road Song. Tigran Hamasyan. In Shadow Theatre. Recorded 2013. Plus Loins Music. Unknown Producer, 2013, MP3.

King, Jason. The Time Is Out of Joint, Behind the scenes on D'Angelo's Voodoo. Slate.com, February 15th, 2013.

League, Michael. UNT Question and Answer Presentation at Dan’s Silver Leaf, Denton, TX, February 19 2012.

Letvin, Daniel J. This is Your Brain on Music. London: Dutton 2006.

Marshall, Wayne. Giving up Hip-Hop's Firstborn: A Quest for the Real after the Death of Sampling. Callaloo 29.3. (2006): 868-96.

Muhly, Nico. I. Archive. Nico Muhly. In Mothertongue. Recorded 2008. Bedroom Community. Valgeir Sigurðsson 2008, CD.

Oxford Dictionary Online. Accessed March 31st, 2014. s.v. polyphony.

Ratliff, Ben. Music; Out of a Rut And Into A New Groove. The New York Times. 23 January 2000. Accessed 03 December 2013.

Snarky Puppy. Flood. Michael League. In Tell All Your Friends. Recorded 2011. Ropeadope Records. Michael League, 2011, CD.

Schuller, Gunther. Musings. NY, NY: Da Capo Press. 2008.

Stevens Band, Becca. Weightless. Becca Stevens. In Weightless. Recorded 2011. Sunnyside Records. Becca Stevens 2011, CD

Turino, Thomas. Music as Social Life: The Politics of Participation. Chicago: University of Chicago 2008.

50 PART II

MUSICAL SCORE

51 Instrumentation

Soprano I Soprano II Alto I Alto II

Flute Trumpet in Bb (Flugel Horn) Alto Saxophone (Clarinet, Bass Clarinet) Tenor Saxophone (Clarinet)

Violin I Violin II Viola Cello

Electric Guitar I (Volume Pedal, Octave Shifter, Distortion, Reverb, Slide) Electric Guitar II (Volume Pedal)

Keyboard (Fender Rhodes Sound, and Lead Synth sound) Bass (Double bass and Electric) Drum set

Electronics (Ableton Live playback of file, interface, splitters, and headphones for 22 performers)

Performance Notes

The electronics start in the first measure with no one else playing; therefore the conductor should start directly on bar 1 with no count-in.

52 Before I Die...

Robert Trusko

q = 80

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&4 ∑∑∑∑∑∑∑∑∑∑∑∑∑ ∑ ∑ Fender Rhodes ? 4 ∑∑∑∑∑∑∑∑∑∑∑∑∑ ∑ ∑ { 4 Violin ° ≤ ≥ ≤ &4 ∑ ∑ wb w w wb w w wb w w wb w w w o pp Violin II &4 ∑ ∑ ∑ ∑ ∑ ∑ w ppw w w ppw w w ppw w o o o o o o ≤ Viola wwwwwwwwwww≤ ≥ w w B 4 ∑ ∑ o pp w w w≤ w w≥ w w≤ w w≥w w ≤ w w≥ Violoncello ? 4 ∑ ∑ ¢ o pp

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Electronics ° &4 ∑∑∑∑∑∑∑∑∑∑∑∑∑ ∑ ∑

pp Vocoder I &4 ∑∑∑∑∑∑∑∑∑∑wb ∑ ˙b Ó ˙b Ó œb œ Ó be be fore be fore-

Vocoder II &4 ∑∑∑∑∑∑∑∑∑∑∑∑∑ ∑ ∑ FORVocoder III & 4 ∑∑∑∑∑∑∑∑∑∑∑∑∑ ∑ ∑ Synthesizer 4 ∑∑∑∑∑∑∑∑∑∑∑∑∑ ∑ ∑ ¢&4

© Robert Trusko 2013-2014. All Rights Reserved. www.truskomusic.com 53 16 A 3

S. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑

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Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Alto Sax. ∑ ∑ ∑ ∑ ∑ &<#>w w pp o

Cl. & ∑ ∑ ∑ ∑ w w w o pp ONLYo Tpt. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

use slide, octave pedal (set to one octave below), and reverb wash (5-10 second decay) E. Gtr. I ° & ∑ wb w w w w w p

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ E. Piano ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ { Vln. I ° ≥ ≤ & w wb w w wb w w

Vln. II & ∑ ∑ w ppw w w ppw o o o ≥ ≤ Vla. B w w w w w w w

w w≤ w w≥ w w≤ w Vc. ? REVIEW ¢

wb Cb. ? ∑ ∑ ∑ ∑ ∑ ∑

Voc. I ° & œb œ Ó œb œ Œ œ œ Œ œb œ Œ œ œ Œ œb œ Œ œ œ Œ œb œ Œ œ œ Œ œb œ Œ œ œ Œ œb œ Œ œ œ Œ be fore- be fore- be fore- be fore- be fore- be fore- be fore- be fore- be fore- be fore- be fore- be fore- be fore- pp 3 3 3 3 3 3 Voc. II & ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ be fore,-be fore,- be fore,- be fore,-be fore,- be fore,- be fore,-be fore,- be fore,- FORVoc III. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ Sy ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

54 4 23

S. I ° & ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑

o pp A. I & ∑ ∑ w w Ah o A. II & ∑ ∑ ∑ ¢ w

Fl. ° & ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ŒÓ 5 5 5 5 J p f p œ# œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ Alto Sax. & ∑ Œ p 3 3 3 3 3 3 3 f 3 3 3 3

Cl. & ∑ w w w o o pp ONLY 3 3 3 3 Tpt. & ∑ Ó œ œ œ œ œ œ œ œ œ œ œ œ Ó ¢ p f p

E. Gtr. I ° & w w w w

E. Gtr. II ∑ ∑ ∑ ∑ ¢&

& ∑ ∑ ∑ ∑ E. Piano ? ∑ ∑ ∑ ∑ { Vln. I ° ≥ ≤ & ˙b ˙æ wæ wæ wb

Vln. II & ∑ ∑ ∑ w o ≥ Vla. B ˙ Ó w w w

˙≥ ˙ w w≤ w Vc. ? æ æ ¢ REVIEWæ æ

arco w/ distortion o Cb. ? œ Ó ˙ w w ŒÓ p f p

Voc. I ° & œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die,

3 3 3 3 3 3 3 3 Voc. II & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- p mf p 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Voc III. & Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ FOR be fore- i be fore- i be fore-i be fore- i be fore-i be fore- i be fore- i be fore- i be fore- i be fore- i be fore- i be fore- i be fore-i be fore- i p mf p Sy & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ 5 5 5 5 5 5 5 5

55 27 5

S. I ° & ∑ ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑ ∑

o A. I & ∑ ∑ ∑ ∑ w

o pp o A. II & ∑ ∑ ¢ w w w Ah

Fl. ° & ∑ ∑ ∑ ∑ ∑

Alto Sax. œ# & J ‰ŒÓ ∑ ∑ ∑ w# p o

Cl. & ∑ ∑ w w w o pp o ONLY Tpt. ∑ ∑ ∑ ∑ ∑ ¢&

E. Gtr. I ° & w w w w w

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ¢&

& ∑ ∑ ∑ ∑ ∑ E. Piano ? ∑ ∑ ∑ ∑ ∑ { Vln. I ° ≥ & w w wb w w

Vln. II & ∑ ∑ ∑ ∑ ∑

≤ Vla. B w w w w w

w≥ w w≤ w w≥ Vc. ? REVIEW ¢

pizz Cb. ? ∑ w ∑ ∑ ∑

Voc. I ° & œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die,

3 3 3 3 3 3 3 3 3 3 Voc. II & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,-

3 3 3 3 3 3 3 3 333333333333 Voc III. & œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œœ œ œœ œ œ œ œ œ FORbe fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i be fore i 5 5 5 5 5 5 5 5 Sy & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ 5 5

56 6 32 mf S. I ° & wb w w ∑ Ah

mf S. II & w w w ∑ Ah

o pp o A. I & ∑ w w w Ah

mf A. II ∑ ¢& w w w Ah

Fl. ° & wb w w ∑ mf

Alto Sax. ∑ ∑ & <#>w w pp o

Cl. & ∑ ∑ ∑ wo ONLY Tpt. & w w w ∑ ¢ mf

E. Gtr. I ° w w w & wb

E. Gtr. II ∑ ∑ ∑ ∑ ¢&

b w w w ∏∏∏∏ ww ww ww & w w w ∑ E. Piano ? ∑ ∑ ∑ ∑ { Vln. I ° ≤ ≥ & wb w w wb

Vln. II & ∑ ∑ ∑ ∑

≥ Vla. B w w w w

w w≤ w w≥ Vc. ? REVIEW ¢

with distortion arco pizz Cb. ? w w w wb p mf o f

Voc. I ° & œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die,

3 3 3 3 3 3 3 3 Voc. II & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,-

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Voc III. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ FORbe fore- i be fore-i be fore- i be fore- i be fore-i be fore- i be fore-i be fore- i be fore- i be fore-i be fore- i be fore- i be fore-i be fore- i be fore-i be fore-i 5 5 5 5 5 5 5 5 Sy ¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

57 p f 36 B 7

S. I ° ˙ ˙ & ∑ ∑ ∑ Her

mf S. II j & ∑ Ó™ œ w ˙ œ ‰Œ >Ho ld,

mf A. I ∑ ∑ ÓŒ j ‰ Œ & œ ˙ œ >Ho ld,

mf A. II & ∑ j ‰Œ ¢ w w ˙ œ Ho> ld,

6 œ w Fl. ° Ó ŒÓŒ œ œ & ∑ ™ œ œ pœ mf

Alto Sax. & ∑ ∑ ∑ ˙# ˙ p f

Cl. & ∑ w w wo pp o ONLY Tpt. ˙ ˙ & ∑ ∑ ∑ ¢ p f

E. Gtr. I ° & w ˙™ œ w w

E. Gtr. II w & ∑ ∑ ∑ w ¢ ∏∏∏∏∏∏∏∏ fw

ww & ∑ ∑ ∑ bw E. Piano w wb ? ∑ ∑ ∑ { p Vln. I ° ≤ & w w wb w

Vln. II & ∑ ∑ ∑ ∑

≤ Vla. B w w w w

w w≤ w w≥ Vc. ? REVIEW ¢

˙ Cb. ? ∑ ™ œ ˙™ œ w

Voc. I ° & œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die,

3 3 3 3 3 3 3 3 Voc. II & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,-

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Voc III. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ FORbe fore- i be fore- i be fore- i be fore- i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore- i be fore-i be fore-i be fore-i be fore-i 5 5 5 5 5 5 5 5 Sy ¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

58 8 40 mf S. I ° ˙ œ œ w œ 2 & J ‰Œ ˙™ J ‰ŒÓ 4 ∑ Hold her

p f p S. II j 2 & Ó ˙ ˙ œ ‰Œ ∑ ∑ 4 ∑ Li ve,

p f p A. I Ó j ‰ Œ ∑ ∑ 2 ∑ & ˙ ˙ œ 4 Li ve,

p f p A. II & Ó j ‰Œ ∑ ∑ 42 ∑ ¢ ˙ ˙ œ Li ve,

˙ œ Fl. ° & J ‰Œ ∑ ∑ ∑ 42 ∑

Alto Sax. &<#>w ∑ ∑ ∑ 42 ∑

Cl. 2 & ∑ o o4 ∑ w o w w ONLY Tpt. w ∑ ∑ ∑ 2 ∑ ¢& 4

E. Gtr. I ° œ w œ ‰ŒÓ 2 & ∑ ˙™ J 4 ∑

E. Gtr. II ∑ ∑ ∑ ∑ 2 ∑ ¢& 4

˙ ™ œ & ∑ ∑ ∑ b˙˙™ œœ œ 42 ˙ ˙ ™ œ bœ ˙ E. Piano p ˙b ™ œ œb ˙ ? ∑ ∑ ∑ 42

Solo { ˙™ œ w w ˙ Vln. I ° & ∑ 42 mf

Vln. II & ∑ ∑ ∑ ∑ 42 ∑

≥ Vla. w w w w ˙ B 42

w w≤ w w≥ ˙ Vc. ? REVIEW 42 ¢

Cb. ? ∑ ∑ ∑ ∑ 42 ∑

Voc. I ° & œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ 42 œb œ œ œ be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die,

3 3 3 3 3 3 3 3 3 Voc. II & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42 œ œ œ be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be -

3333333333333333 3 3 Voc III. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42 œ œ œ œ œ œ FORbe fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i 5 5 5 5 5 5 5 5 5 Sy 2 ¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ

59 45 mf 9 S. I ° 4 ∑ &4 ˙™ œ ˙™ œ w Hold her in

S. II &4 ∑ ∑ ∑ ∑

A. I &4 ∑ ∑ ∑ ∑

A. II 4 ∑ ∑ ∑ ∑ ¢&4

œ ˙ œ œ œ œ œ œb œ œb œ œb ˙™ œ œ œn Fl. ° 4 œb œ œ &4 ∑ ∑ œ œ f

Alto Sax. &4 ∑ ∑ ∑ ∑ Cl. &4 ∑ ∑ ∑ ONLY∑ Tpt. 4 ∑ ∑ ∑ ∑ ¢&4

E. Gtr. I ° 4 ∑ &4 ˙™ œ ˙™ œ w

E. Gtr. II 4 ∑ ∑ ∑ ∑ ¢&4

˙ œ œ œ œ œ ˙™ 4 ˙ Ó ∑ b˙ œ œ œ œ œ ˙™ &4 ˙ ˙ œ œ œ œ bœ ˙™ E. Piano ™ ˙ ˙b œ œ œ œ œb ˙™ ? 4 Ó ∑

{ w w œ Vln. I ° &4 J ‰ŒÓ ∑

Vln. II &4 ∑ ∑ ∑ ∑

≤ Vla. w w w w B 4

w w≤ w w≥ Vc. ? 4 ¢ 4 REVIEW

Cb. ? 4 ∑ ∑ ∑ ∑

Voc. I ° &4 œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die, be fore- i die,

3 3 3 3 3 3 3 3 Voc. II &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,- be fore,-

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Voc III. &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ FORbe fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore- i be fore-i be fore- i be fore-i be fore-i be fore-i 5 5 5 5 5 5 5 5 Sy 4 ¢&4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

60 p f 10 49 mf C ˙™ S. I ° œ ˙™ ˙ ˙ ˙ & ∑ œ w Ó Hold her in my arms

p f S. II & ∑ ∑ ∑ ∑ Ó ˙ ˙ ˙ my arms

p f A. I & ∑ ∑ ∑ ∑ Ó ˙ ˙ ˙ my arms

p f A. II ∑ ∑ ∑ ∑ Ó & ˙ ˙ ˙ ¢ my arms

w ˙ 3 3 Fl. ° & Ó ∑ œ œ œ pœ....œ œ œ œ. . œ. . œ. . Alto Alto Sax. & ∑ ∑ ∑ ∑ Ó ˙# w p f

3 Cl. ∑ ∑ œ ˙ w & œ œ ˙# œ wo mpœ ONLY Tpt. & ∑ Ó ˙ ˙ ˙ ¢ p f

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑ ∑

œ ˙™ w E. Gtr. II ∑ ∑ ∑ ∑ œb ˙™ w ¢&

w ˙™ œ ˙™ & w œ w ∑ ∑ w E. Piano bw w ? < > ∑ ∑ ∑ ∑ { Vln. I ° ∑ ∑ ∑ ∑ Ó ˙ ˙ ˙ & æ æ æ æp f æ æ

Vln. II & ∑ ∑ ∑ ∑ Ó ˙æ ˙æ ˙æ p f

Vla. B w w ∑ ∑ Ó ˙ ˙ ˙ ∑ æ æ æ pp æp f æ æ w w w Vc. ? REVIEW∑ ∑ ∑ ∑ ¢ pp

Cb. ? ∑ ∑ ∑ ∑ ∑ ∑

Prerecorded Words Voc. I ° & œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ ∑ ∑ ∑ ∑ be fore- i die, be fore- i die, be fore- i die, be fore- i die,

3 3 3 3 Voc. II & œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ ∑ ∑ be fore,- be fore,- be fore,- be fore,- be fore,- be fore,-

3 3 3 3 3 3 3 3 Voc III. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ ∑ ∑ FORbe fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i be fore-i 5 5 5 5 Sy ∑ ∑ ∑ ∑ ¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

61 p 55 11

S. I ° œ & J ‰ŒÓ ∑ ∑ ∑ ∑ ∑ ∑

p mf j S. II ‰ŒÓ ∑ ∑ ∑ ∑ ∑ j & œ œ œ œ ˙ œ in my arms,

p o pp o A. I j & œ ‰ŒÓ ∑ ∑ ∑ w w w live

p mf o pp A. II & j ‰ Œ Ó ∑ Œ œ j‰Œ ∑ ¢ œ œ ˙ ˙b œ w w Ho ld- her, live

5 5 3 3 3 5 5 3 Fl. ° & œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mpœ. . œ. . œ. . œ. . œ. . œ. . œ. . œ. . œ. . œ. . œ. ˙ pœ....œ œ œ œ. . œ. . œ. . mpœ. . œ. . œ. . œ. . œ. . œ. . œ. . œ. . œ. . œ. . œ. ˙ o o

Alto Sax. # œ ∑ ∑ ∑ ∑ ∑ ∑ &< >J ‰ŒÓ ONLY Cl. & ∑ ∑ ∑ ∑ w w w o pp o

Tpt. œ & J ‰ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ ¢ p

E. Gtr. I ° & ∑ w œ ˙™ ˙ ˙ œ ˙ œ w w

œ œ ˙™ ˙™ œ œ œ œ ˙™ ˙™ œ œ œ œ ˙™ ˙™ œ œ œ œ ˙™ E. Gtr. II œb œ ˙™ ˙™ œb œ œb œ ˙™ ˙™ œb œ œb œ ˙™ ˙™ œb œ œb œ ˙™ ¢&

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ E. Piano ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ { Vln. I ° œ ‰ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ & æ æpJ

Vln. II j & œæ ‰ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ p REVIEW Vla. B œ ‰ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ æ æpJ

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

Cb. ? ∑ w œ ˙™ ˙ ˙ œ ˙ œ w w FOR p Elec. ° ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

62 12 62

S. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

mf S. II & j‰Œ ∑ ∑ ∑ Œ j‰Œ ∑ ∑ ˙ œ œ œ ˙ ˙b œ Ho ld- her,

o pp o A. I & ∑ ∑ ∑ ∑ ∑ be˙ re˙ - memw -- beredw

o o pp A. II ∑ ∑ ∑ ∑ ∑ ¢& w be˙ re˙ - memw -

Fl. ° ∑ ∑ ∑ ∑ ∑ ∑ & w w o pp

Alto Sax. & ∑ ∑ ∑ ∑ ∑ Ó ˙# w pONLYf Cl. & ∑ ∑ w w w w w w o pp o o pp o

Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ Ó ˙ w ¢ p f

E. Gtr. I ° & œb ˙ œb œ œ œb œ œ œb œ œ œ ˙™ ˙ ˙ ˙™ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙™ œ œ œ œ ˙™ ˙™ œ œ œ œ ˙™ ˙™ œ œ œ œ ˙™ ˙™ œ œ œ œ ˙™ E. Gtr. II b˙™ œb œ œb œ ˙™ ˙™ œb œ œb œ ˙™ ˙™ œb œ œb œ ˙™ ˙™ œb œ œb œ ˙™ ¢&< >

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ E. Piano ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ { Vln. I ° Ó ˙ w ˙™ œ ‰ ∑ ∑ ∑ ∑ ∑ & æ æ æ æ æp fæ æ pæJ

j Vln. II Ó æ æ æ æ ‰ ∑ ∑ ∑ ∑ ∑ & ˙æ wæ ˙æ™ œæ p REVIEWf p

Vla. B Ó ˙ w ˙™ œ ‰ ∑ ∑ ∑ ∑ ∑ æ æ æ æ æp fæ æ pæJ

arco pizz. ˙ w Vc. ? ∑ ∑ Ó™ œb ˙ ∑ ∑ Ó ¢ œ œ œ p f

œb ˙ œb œ œ œb œ œ œb œ œ FORCb. ? œ ˙™ ˙ ˙ ˙™ œ œ œ œ œ œ œ œ œ œ œ œ œ Elec. ° ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

63 70 mf 13 S. I ° ∑ Œ œb ∑ ∑ & œ œ œ w Ho ld- her

S. II & ∑ ∑ ∑ ∑ ∑

o pp o A. I & ∑ ∑ be˙ re˙ -- memw -- beredw

o A. II ∑ ∑ ∑ ∑ ¢& beredw

3 3 5 5 3 Fl. ° & ∑ ∑ pœ œ œ œ œ œ. œ œ. œ œ. mpœ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ ˙ ...... o

Alto Sax. &<#>˙ ™ œ ‰ ∑ ∑ ∑ ∑ pJ

ONLY3 3 Cl. & ∑ w w w œ œ œ œ œ...œ œ œ...œ œ o pp o p

Tpt. ˙™ œ & J ‰ ∑ ∑ ∑ ∑ ¢ p

E. Gtr. I ° œb œ œ œb œ™ œ œ œb œ™ œ œ œb œ™ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ

˙™ œ œ œ œ ˙™ ˙™ œ œ œ œ ˙™ ˙™ œ œ E. Gtr. II b˙™ œb œ œb œ ˙™ ˙™ œb œ œb œ ˙™ ˙™ œb œ ¢&< >

& ∑ ∑ ∑ ∑ ∑ E. Piano ? ∑ ∑ ∑ ∑ ∑ {

Vln. I ° ˙ œ œ œ œ œ ˙ w & ∑ ∑ ™ p p

Vln. II œ œ œ & ∑ ∑ ˙ œ œ ˙™ w REVIEWp p

Vla. B ∑ ∑ ∑ ∑ ∑

˙™ œ Vc. ? J ‰ ∑ ∑ ∑ ∑ ¢ p

œb œ œ œb œ œ œ œb œ œ œ œb œ œ œ FORCb. ? œ œ œ œ œ ™ œ œ œ ™ œ œ œ ™ œ Elec. ° ∑ ∑ ∑ ∑ ∑ ¢&

64 14 75

S. I ° & ∑ ∑ ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑ ∑ ∑

mf o A. I j & ∑ Œ œ œ ∑ ∑ œ œ œ w w for the last time live

o pp o A. II & ∑ ∑ ∑ ¢ w w w live

Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑

Alto Sax. & ∑ Ó ˙# ˙ ˙ œ ‰ŒÓ ∑ ∑ p f pJ

5 5 3 ONLY Cl. & ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ w w w mp...... pp o o o

Tpt. ˙ ˙ ˙ œ & ∑ Ó J ‰ŒÓ ∑ ∑ ¢ p f p

E. Gtr. I ° œb œ™ œ œ œb œ™ œ œ œb œ™ œ œ œb œ™ œ œ œb œ™ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ ˙™ ˙™ œ œ œ œ ˙™ ˙™ œ œ œ œ ˙™ ˙™ œ œ E. Gtr. II œb œ ˙™ ˙™ œb œ œb œ ˙™ ˙™ œb œ œb œ ˙™ ˙™ œb œ ¢&

& ∑ ∑ ∑ ∑ ∑ ∑ E. Piano ? ∑ ∑ ∑ ∑ ∑ ∑ { Vln. I ° ∑ ∑ Ó ˙ w ˙™ œ ‰ ∑ & æ æ æ æ æp fæ æ pæJ

j Vln. II ∑ ∑ Ó æ æ æ æ‰ ∑ & ˙æ wæ ˙æ™ œæ REVIEWp f p

Vla. B ∑ ∑ Ó ˙ w ˙™ œ ‰ ∑ æ æ æ æ æp fæ æ pæJ

Vc. ? ∑ ∑ ∑ ∑ ÓŒ ∑ ¢ œ

œb œ œ œ œb œ œ œ œb œ œ œ œ œ œ œb œ œ œ œ œ œ œb œ œ œ FORCb. ? œ œ ™ œ œ œ ™ œ œ œ ™ œ œ ™ œ œ ™ Elec. ° ∑ ∑ ∑ ∑ ∑ ∑ ¢&

65 D 81 15 mf S. I ° œ œ œ œ œ œ œ & œb œb œ œb œ œ œ Œ ∑ Ó œb œb œ œ œ œ ˙ ÓÓŒ good bye good bye good

mf S. II w & wb ∑ Ó ˙ ˙ ˙b ˙ Ó Ó Œ œ good --- bye good - bye good -

pp o A. I & ∑ ∑ ∑ ∑ ∑ w w

o pp o A. II & ∑ ∑ ∑ ∑ ¢ w w w Ah

Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ Alto Sax. & ∑ ∑ ∑ ONLY∑ ∑ Cl. & ∑ ∑ w w w w w o pp o o pp

Tpt. ∑ ∑ ∑ ∑ ∑ ¢&

E. Gtr. I ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ & ™ œb œ™ œ œ ™ œb œ™ œ œ ™ œb œ™ œ œ œb œ œb œ œb œ

œ œ ˙™ ˙™ œ œ œ œ ˙™ ˙™ œ œ œ œ ˙™ ˙™ œ œ œ œ ˙™ E. Gtr. II œb œ ˙™ ˙™ œb œ œb œ ˙™ ˙™ œb œ œb œ ˙™ ˙™ œb œ œb œ ˙™ ¢&

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ E. Piano ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ {

Vln. I ° ≤ ≥ & wb wb w w wb w w

Vln. II & ∑ REVIEW∑ ∑ ∑ ∑ ∑ ∑ ≤ ≥ Vla. B w w w w w w w

w≤ w w≥ w w≤ w w≥ Vc. ? ¢

œ œ œb œ™ œ œ œ œ œb œ™ œ œ œ œ œb œ™ œ œ œ œb œ œ œb œ œ œb œ œ FORCb. ? œ œ ™ œ œ ™ œ œ ™ œ œ œ œ™ Elec. ° ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

66 16 88 E S. I ° œ œ 2 4 & œb œb œ œ œ œ œ ŒŒ 4 ∑4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ bye

S. II ˙™ œb ˙™ Œ 2 ∑4 ∑ ∑ ∑ ∑ ‰ j ∑ & 4 4 œ ˙ w bye Ah ™

o pp o A. I & 42 4 Ó ∑ ∑ ∑ ‰ j ∑ w w ˙ ˙ œ# ˙™ w Ah Ah

A. II ∑ ∑2 ∑4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& 4 4

œb œ w w Fl. ° & ∑ ∑ 42 4 ÓŒ ∑ ∑ f mfw Alto Sax. & ∑ ∑ 42 4 ∑ ∑ ∑ONLY ∑ ∑ ∑ Cl. ∑ 2 4 ∑ ˙ œ™ œb œ™ j & 4 4 J œ ˙ œ œ# ˙ w w# w o f ™ mf

Tpt. ∑ ∑ 2 4 ∑ ∑ ∑ ∑ ∑ ∑ ¢& 4 4

switch clean sound œ œ E. Gtr. I ° œ œb œ ™ œ œ œ œ ™ œ œ œb œ 2 4 ∑ ∑ ∑ ∑ ∑ ∑ & œ™ œ™ œ™ 4 ˙4 w

˙™ œ œ œ œ ˙™ ˙ w E. Gtr. II b˙™ œb œ œb œ ˙™ 2 ˙ 4 w ∑ ∑ ∑ ∑ ∑ ∑ ¢& < > 4 4

œ w w œ œ œ œœœ œ œ œb w w œ œ ˙™ w w & ∑ ∑ 42 Œ‰ J 4 ™ œœ œ ™ œ œ œ œ œ ˙ ™ w w E. Piano mp ? ∑ ∑42 ∑4 ∑ ∑ ∑ ∑ ‰ j œ ˙™ w w { >œ >˙™ w w

Vln. I ° ≤ & 42 4 j j œ ˙™ w w w w ˙ w w p˙ œ™ œb œ™ œ ˙ œ > > > Vln. II & ∑ REVIEW∑42 ∑4 ∑ ∑ ∑ ∑ ∑ ∑ ∑

≤ > Vla. w w 2 ˙4 w w ˙ œ™ œb œ™ > B 4 4 J œ ˙ œ œ ˙™ w w p J >

≤ ≥ w w ˙ w w ˙ œ™ >œ œ™ >œb ˙ œ > Vc. ? 42 4 J J œ# ˙™ w w# ¢ p

arco œ œb œ œ™ œ œ œ œ œ™ œ œ œb œ œ™ > > Cb. ? œ œ 2 ˙ 4 ˙ Ó ∑ ‰ œb ˙ w œ œ ˙ w w ™ ™ 4 4 J ™ ™ FOR ff Elec. ° ∑ ∑2 ∑4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& 4 4

67 F 17 98 mf S. I ° œ ˙ w œ œ# w# œ & Œ J ‰ŒŒ J ‰ œ ˙ w w ∑ ∑ ∑ ∑ Be die i die Be die

mf S. II ˙# w# œ ˙ w œ ‰Œ ∑ ∑ ∑ ∑ & ŒŒ J ‰Œ ˙ w w fore die fore die J fore die

mf j j A. I & ŒŒŒ œ w œ ‰ œ ˙ w œ ‰ŒŒ œ# w# w ∑ ∑ ∑ ∑ I die Be die I die

mf A. II j‰ŒÓ j & ∑ w# œ w# œ ‰ŒŒŒ ˙# ˙ ∑ ∑ ∑ ∑ ¢ die die die ˙ ˙#

Fl. ° & ∑ ∑ ∑ ∑ ∑ ˙# ÓÓ ∑ ∑ ∑ f ˙ ˙ ˙#

œ œ# œ# œ# ˙™ œ œn w Alto Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ f ONLY Cl. & ∑ ∑ ∑ ∑ ∑ œ# ˙# ∑ ∑ ∑ ˙ ˙# ˙# ˙ œ f

Tpt. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

j j & ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ j j #œ™ œ œ™ œ w œ™ œ œ™ œœn w E. Piano œ™##œ œ™ nœ w œ™ œ œ™ œ w # w œ #œ™ ™ œ w œ™ #œ œ™ bœ w # ww œœ #ww œœ ww ww ? ∑ ‰ŒÓ # w œ ‰ŒÓ ##ww ww j j j w œ œ™ œ œ™ œn w œ™ œ œ™ j { J w Jœ w w œb w ˙ ˙# ˙ œ Vln. I ° w# œ w# œ œ# w# & ∑ J ‰ŒÓ J‰ŒÓ œ œ# œ œ ˙ œ™ œn w pp f pp f J

w w ˙™ œ Vln. II w œ w# œ j & ∑ REVIEWJ ‰ŒÓ J ‰ŒÓ æ æ æ æJ ‰ ∑ ÓŒ‰ œ w pp f pp f

w œ Vla. J w# w ˙™ œ œ w B ∑ w# œ ‰ŒÓ ‰ŒÓ æ æ æ æJ ‰ ∑ ÓŒ‰ J pp fJ pp f æ æ æ æ

w œ pizz. ˙# ˙ ˙ ˙# Vc. ? j J ˙™ œ j j j ∑ w œ ‰ŒÓ ‰ŒÓ œ w ‰‰ œ œ ‰‰ j j‰ŒŒ‰‰ ¢ pp f pp f œ œb œ

pizz. > œ œ œb Cb. ? ∑ ∑ ∑ w œ ‰ Œ Ó w w j j œ ‰‰ ‰‰ œb œ ‰ŒŒ‰ J J œ™ œ œ™ œ w J J J J J FOR pp f Elec. ° ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

68 18 109

S. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

œ. . œ œb . œ Fl. ° œ™ œ œ œ œb w œœ œ & ∑ J ∑ ∑ ∑ Ó œb ˙b ™ œ p f 3

Alto Sax. & ∑ œ™ œ œ œ œ w ∑ ∑ ∑ ∑ p J

Cl. œ™ œ œ œ œ w ONLY & ∑ J ∑ ∑ ∑ ∑ p

Tpt. œ œ œ w & ÓŒ œ ™ œ œ œ ∑ ∑ ∑ ∑ ¢ p J

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

∑ ∑ j j j j & w œœb ™ œ ˙ œ œœb ˙ œ #œ œ™ œ œ™ œ w œb ™ œ ˙ ™ bœ™ ∏∏∏∏∏∏ œ œ™ œ w b œ œ ˙

w b œ œ ˙ œb œ ˙ œn œ ∏∏∏∏∏∏∏ E. Piano w ™ œ™ nœ œ™ ∏∏∏∏∏∏∏ bœ w bœ™ œœ ˙˙ w œ™ ™ n œ w œ™ œ ˙ w j

j ∏∏ j

? ∏∏ j ∑ ∑ œb ™ œ ˙ œ œ ˙™ œb ™ œ œ™ ∏∏ œb w œb œb ˙ { w b œ™ bœ ˙ œ œ ˙™ ™ Vln. I ° & w ∑ ∑ ∑ ∑ ∑ ∑ ∑ o

Vln. II & w ∑ ∑ ∑ ∑ ∑ ∑ ∑ REVIEWo œ œb œ œb œb Vla. B w ∑ Ó œb œœ J œb œ w ∑ ∑ ∑ o f J

arco Vc. ? Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ ˙b ™

pizz. To Electric Bass œb œ œb Cb. ? ˙b ‰ J œ J‰ŒŒ œ œb w ∑ ∑ ∑ ∑ ∑ FORDr. / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Elec. ° ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ / ¢&

69 117 G 19

S. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

mf S. II ∑ ∑ ∑ ∑ ∑ Œ œb j ‰ Œ Ó & œ œ œ œ Ho ld- her,

mf A. I ∑ ∑ ∑ ∑ ∑ ∑ Œ j & œ œ œ œ œ in my arms

A. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

Fl. ° & w ∑ ∑ ∑ ∑ ∑ ∑

Alto Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Cl. ONLY & ∑ ∑ ∑ ∑ ∑ ÓÓ ∑

Tpt. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

G‹11 D‹11 G‹11 D‹11 & w w b wwb w w bww w bww w E. Piano w w w w w w w w w ? w w { w w w w w w w Vln. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ Vln. II & ∑ REVIEW∑ ∑ ∑ ∑ ∑ ∑ Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

Electric Bass G‹11 D‹11 Cb. ? ∑ ∑ ∑ ∑ ∑ VVVVVVVV

continue playing on one and three j j j j j Dr. j j ‰Œ œ œ ‰Œ j j ‰Œ œ œ ‰Œ j j ‰Œ œ œ ‰Œ j j ‰Œ œ œ ‰Œ j j ‰Œ œ œ ‰Œ ∑ ∑ / œ œ J œ œ J œ œ J œ œ J œ œ J

FORDrum Set j j j j j ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ Dr. ° j j œ œ j j œ œ j j œ œ j j œ œ j j œ œ j œ œ j œ œ / œ ‰Œ ‰Œ œ ‰Œ ‰Œ œ ‰Œ ‰Œ œ ‰Œ ‰Œ œ ‰Œ ‰Œ œ œ ¢ œ J œ J œ J œ J œ J œ 3 œ 5

70 20 124 mf f œ œ œ S. I ° Œ œb œ œ œ œ œb Œ Ó Ó Œ ‰ j œb & œ œ œ œ œ say good bye- to ev ry- one, andœ ki ss-my mo ther's-

S. II & ∑ ∑ ∑ ∑ ∑

A. I & ˙ Ó ∑ ∑ ∑ ∑

f A. II ∑ ∑ œb ∑ & œ œ œ œ œ œ œ œ Œ ¢ good bye œ

Fl. ° & ∑ ∑ ∑ ∑ ∑

Alto Sax. & ∑ ∑ ∑ ∑ ∑

Cl. ∑ ∑ ∑ ∑ ONLY∑ &

Tpt. ∑ ∑ ∑ ∑ ∑ ¢&

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ¢&

B¨/F A‹7 B¨Œ„Š7 FŒ„Š7 B¨Œ„Š7

& w œœ œ™ ˙™ œ ˙ œœ œ™ ˙™ E. Piano w w œ œ™ ˙™ œœ œ™ ˙™ œ œ™ ˙™ bww ww bœ œ™ ˙™ œ œ™ ˙™ bœ œ™ ˙™ ? ∑ ∑ ∑ { w w Vln. I ° w & ∑ ∑ ∑ ∑ p

Vln. II & ∑ ∑ ∑ ∑ w p

REVIEW wb Vla. B ∑ ∑ ∑ ∑ p

w Vc. ? ∑ ∑ ∑ ∑ ¢ p

B¨/F A‹7 B¨Œ„Š7 FŒ„Š7 B¨Œ„Š7 Bass ? VVVVVVVVVVVVVVVVVVVV FORDr. / ∑ ∑ ∑ ∑ ∑ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ Dr. ° j œ œ j œ œ j œ œ j œ œ j œ œ / œ œ œ œ œ ¢ œ 3 5 œ 6 œ 5 œ 7 œ 6 5 7 6 5

71 129 21

S. I ° œ j & œ œ œb œœ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ he - ad,

S. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

. . . . . Fl. ° œ œ ˙™ ˙™ œ œœ œ j & ∑ J ‰ œb ˙ wb œ ‰ŒŒ œ w œ ‰ œ ˙ w p mf mf J

. . . . . Alto Sax. œ œ ˙™ ˙™ œ œ# œ œ & ∑ J ‰ Œ Ó w œ ‰ŒÓ w# œ ‰ŒŒŒ ˙ ˙# p mf mf J J

Tenor Saxophone . . . . . œ œ ˙™ ˙™ œ œœ œ œ w œ œ ˙ w ONLYœ œ# w# Cl. & ∑ J ‰ŒŒ J‰ J‰ŒŒ p mf mf

. . . j Tpt. ∑ œ. œ ˙ ˙™ œ œœ œ. & ™ J ‰Œ ˙ w œ ‰Œ ˙ w œ ‰Œ ˙ w ¢ p mf mf J

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

FŒ„Š7 G‹11 D‹11 & œ ˙ ∑ ∑ ∑ ∑ ∑ ∑ œœ œ™ ˙™ œœ œ™ ˙™ œœ œ™ ˙™ E. Piano œ œ™ ˙™ bœ œ™ ˙™ œ œ™ ˙™ bww œœ w œ ? ∑ ∑ w œ ‰ŒÓ nww œœ ‰ŒÓ ww w w wb œ { J w Jœ bw Vln. I ° w w œ w œ & ∑ ∑ ∑ J ‰ŒÓ J ‰ŒÓ ∑ f p pp f pp f

j Vln. II & w ∑ ∑ ∑ wb œ ‰ŒÓ w œ ‰ŒÓ ∑ f p pp fJ pp f

w REVIEW Vla. j w œ B ∑ ∑ ∑ w œ ‰ŒÓ J ‰ŒÓ ∑ f p pp f pp f

w w œ Vc. ? ∑ ∑ ∑ j‰ Œ Ó J ‰ŒÓ ∑ ¢ f p w œ pp f pp f

FŒ„Š7 G‹11 D‹11 Bass ? j ∑ wb œ ‰ŒÓ w œ ‰ŒÓ wb VVVVVVVVVVVV J pp f

Dr. ∑ ∑ ∑ FOR/ VVVVVVVVVVVVVVVVVVVVVVVV ¿ ¿ ¿j¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ Dr. ° j œ œ j œ œ j œ œ / œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ¢ œ 3 œ 3 œ 5 5

72 22 138 mf œ œ œ S. I ° Œ œb j ‰ j j ‰ œb œ œ œ œ ‰ œ œ œb œ œb & œ œ œ œ œ œ œ œ œ œ J œ Ho ld- her, in my arms, say good bye- to ev ry- one, good bye

mp S. II & Œ j ‰ j j ‰ œ œ œb œ ‰ œb œ œ œ œ œ œ œ œb œ œ œb œ œ œ œ œ œ œ œ J œ Ho ld- her, in my arms, say good bye- to ev ry- one, good bye

p œ A. I j œ œ œ œ ÓŒ œb œ j ‰ œ j ‰ œb œ œ ‰ œb œ & œ œ œ œ œ œ œ œ J œ Ho - ld her in my- arms say good bye- to ev ery- one good bye-

A. II ∑ ∑ ∑ ∑ ∑ ¢&

Fl. ° & wb ∑ ∑ ∑ ∑ p

Alto Sax. & w ∑ ∑ ∑ ∑ p

To Cl. ONLY Ten. Sax. & w ∑ ∑ ∑ ∑ p

Tpt. & w ∑ ∑ ∑ ∑ ¢ p

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ¢&

B¨Œ„Š7 D‹11 B¨Œ„Š7 FŒ„Š7 G‹11 & + + + + + E. Piano ? ∑ ∑ ∑ ∑ ∑ { Vln. I ° & ∑ ∑ ∑ ∑ ∑ Vln. II & ∑ REVIEW∑ ∑ ∑ ∑ Vla. B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ¢

B¨Œ„Š7 D‹11 B¨Œ„Š7 FŒ„Š7 G‹11 Bass ? VVVVVVVVVVVVVVVVVVVV FORDr. / ∑ ∑ ∑ ∑ ∑ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ Dr. ° j œ œ j œ œ j œ œ j œ œ j œ œ / œ œ œ œ œ ¢ œ 3 œ œ 3 5 œ 6 œ 5 5 5 7

73 143 23 S. I ° j œ œ œ œ j & œb œ œ œ ‰ œ œ œ œ œb œ œb œ œ ‰ ∑ ∑ ∑ ∑ and ki ss- my mo ther's- he -- ad,

S. II & œ ‰ j œ œ œb œ j ‰ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œb and ki ss- my mo ther's- he -- ad,

A. I œ ‰ œ œb œ œ ∑ ∑ ∑ ∑ & œ œ œ œ œ œ j œ œ œ œ andœ ki ss- my mo ther's- he ad-

A. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ E‹11 B‹11 G/D F©‹7 Solo Alto Sax. ∑ ∑ ∑ & VVVVVVVVVVVVVVVVONLY Ten. Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

D‹11 B¨/F A‹7 G‹11 D‹11 B¨/F A‹7 + + + & œ œ ™ ˙ ™ œœ œ™ ˙™ w w E. Piano bœ œœ™ ˙˙™ œ œ™ ˙™ bww ww ? ∑ ∑ ∑ { w w w w Vln. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ Vln. II & ∑ REVIEW∑ ∑ ∑ ∑ ∑ ∑ Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

D‹11 B¨/F A‹7 G‹11 D‹11 B¨/F A‹7 Bass ? VVVVVVVVVVVVVVVVVVVVVVVVVVVV

Comp Soloist Dr. ∑ ∑ ∑ FOR/ VVVVVVVVVVVVVVVV ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ¿ ¿ ¿ ¿ Dr. ° j œ œ j œ œ j œ œ œ œ œ ∑ ∑ ∑ ∑ / œ œ 6 œ 3 ¢ 6 7 5 5

74 24 150

S. I ° & ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑

A. I & ∑ ∑ ∑ ∑

A. II ∑ ∑ ∑ ∑ ¢&

Fl. ° & ∑ ∑ ∑ ∑

GŒ„Š7 D/F© GŒ„Š7 DŒ„Š7 Alto Sax. & VVVVVVVVVVVVVVVV

Clarinet in Bb Ten. Sax. ONLY ∑ ∑ ∑ Œ‰ j œ & œ œ œ# œ

Tpt. ∑ ∑ ∑ ∑ ¢&

E. Gtr. I ° & ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ¢&

B¨Œ„Š7 F/A B¨Œ„Š7 FŒ„Š7

& œœ œ™ ˙™ œ ˙ œœ œ™ ˙™ œ ˙ E. Piano œ œ™ ˙™ œœ œ™ ˙™ œ œ™ ˙™ œœ œ™ ˙™ bœ œ™ ˙™ œ œ™ ˙™ bœ œ™ ˙™ œ œ™ ˙™ ? ∑ ∑ { wb w Vln. I ° & ∑ ∑ ∑ ∑

Vln. II & ∑ ∑ ∑ ∑

Vla. REVIEW B ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ¢

B¨Œ„Š7 F/A B¨Œ„Š7 FŒ„Š7 j Bass ? ‰ œ œ œ œ VVVVVVVVVVVVV œ

Dr. FOR/ VVVVVVVVVVVVVVVV Dr. ° ∑ ∑ ∑ ∑ ¢ /

75 154 mf 25 œ S. I ° j œ œ œ œ Œ œb œ j ‰ œ j ‰ œb œ œ ‰ œb œ œ ‰ j & œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ Ho ld- her, in my arms, say good bye- to ev ry- one, good bye andœ

S. II & ∑ ∑ ∑ ∑ ∑ ∑

mp œ œ œ A. I ÓŒ œb j ‰ j j ‰ œb œ œ œ œ ‰ œb & œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ Ho ld her in my- arms say good bye- to ev ery- one good bye-

p œ A. II j œ œ œ œ ∑ œb œ j ‰ œ j ‰ œb œ œ ‰ œb œ œ & œ œ œ œ œ œ œ œ J œ œ œ œ ¢ Ho - ld her in my- arms say good bye- to ev ery- one good bye-

œ Fl. ° j j œ œ œ œ œ œ & ÓŒ œb œ œ j ‰ œ œ ‰ œb ‰ œb œ œ œ œ œ œ mf œ œ œ œ œ œ J œ œ

To B. Cl.

Alto Sax. œ & ∑ ∑ Œ œ œ œ œ œ œ# œ ∑ ∑

To Ten. Sax.

Cl. ONLY ∑ ∑ ∑ ∑ ∑ & w

Tpt. j Œ œ œ œ j ‰ œ œ j ‰ŒÓ ∑ ‰ œ œ œ œ œ œ ‰ j ¢& œ œ œ# œ œ œ J œ œ# œ œ œ

volume swells E. Gtr. I ° ˙ ˙ ˙ ˙ ˙ ˙ & ∑ ˙ ˙ ∑ ˙ ˙ ∑ ˙ ˙ o mf o o mf o o mf o volume swells ˙˙ ˙˙ ˙˙ ˙˙ E. Gtr. II ∑ ∑ ˙b ˙ ˙ ∑ ˙b ˙ ˙ ∑ ¢& o mf o o mf o

B¨Œ„Š7 D‹11 B¨/F A‹7 B¨Œ„Š7 F/A

& œœ œ™ ˙™ œ ˙ œœ œ™ ˙™ œ ˙ œœ œ™ ˙™ œ ˙ E. Piano œ œ™ ˙™ œœ œ™ ˙™ œ œ™ ˙™ œœ œ™ ˙™ œ œ™ ˙™ œœ œ™ ˙™ bœ œ™ ˙™ œ œ™ ˙™ bœ œ™ ˙™ œ œ™ ˙™ bœ œ™ ˙™ œ œ™ ˙™ ? ∑ ∑ ∑ ∑ ∑ ∑ {

Vln. I ° & ∑ ∑ ∑ ∑ ∑ ∑ Vln. II & ∑ REVIEW∑ ∑ ∑ ∑ ∑ Vla. B ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ¢

B¨Œ„Š7 D‹11 B¨/F A‹7 B¨Œ„Š7 F/A Bass ? wb VVVVVVVVVVVVVVVVVVVV

Dr. FOR/ VVVVVVVVVVVVVVVVVVVVVVVV Dr. ° ∑ ∑ ∑ ∑ ∑ ∑ ¢ /

76 26 160 mf S. I ° œb œ œ œb j ‰Œ œb ∑ ∑ Œ œb & œ œ œ œ œ œ œ œ œ œ œ w œ œ œ ki ss- my mo ther's- he -- ad, Ho ld- her Ho ld- her

mf S. II ∑ ∑ ∑ ∑ Œ œb ∑ & œ œ œ w Ho ld- her

mf A. I ‰ œb œ œ ∑ Œ j ∑ ∑ & œ j œ œ œ œ œ œ œ œ œ œ w andœ ki ss- my mo ther's- he ad- for the last time

mf A. II j ‰ j ˙b ∑ ∑ ∑ Œ œ & œ œ œ œ œ œ œ œ œ œ œ œ w ¢ andœ ki ss- my mo ther- forthe last time

Fl. œ ° ‰ j œ œb œ ∑ ∑ ∑ ∑ ∑ & œ œ œ œ œ œ Bass Clarinet in Bb Alto Sax. ∑ ∑ ˙ & ˙ ˙ ˙ ˙ ˙ f ˙ œ œœ w

Cl. & ∑ ∑ ∑ ∑ ∑ ∑ONLY∑

œ# j Tpt. œ œ œ œ œ œ œ œ ‰ ∑ ∑ ∑ ∑ ∑ ¢& œ œ# œ

octave down with heavy distortion E. Gtr. I ° ∑ ˙˙ ˙˙ ∑ ∑ ∑ & ˙ ˙ Ó œ œœ wb o mf o f

˙˙ ˙˙ E. Gtr. II ˙b ˙ ˙ ∑ ∑ ∑ ∑ Ó œ ¢& œœ wb o mf o

B¨Œ„Š7 FŒ„Š7 œ ˙ œ ˙ œ ˙ œ ˙ & œœœ™ ˙™ œœœ™ ˙™ œœœ™˙™ œœœ™˙™ œœœ™˙™ œœœ™˙™ œœœ™˙™ E. Piano bœ œ™ ˙™ œ œ™ ˙™ bœ œ™˙™ œ œ™˙™ bœ œ™˙™ œ œ™˙™ bœ œ™˙™ ? ∑ ∑ ˙b ˙ f ˙ ˙b ˙ ˙ { ˙b œ œœ wb œ w w w w w> Vln. I ° æ æ & ∑ ÓŒ æ æ sffz sffz

˙ w w w w w> Vln. II & ∑ Ó æ æ sffz sffz

REVIEWœ ˙ w w > wb wb wb Vla. B ∑ Œ æ æ æ sffz sffz w w w Vc. ? æ w w ∑ æ æ ¢ sffz wb æ sffz>

B¨Œ„Š7 FŒ„Š7 ˙b Bass ? ˙ ˙ ˙b ˙ ˙ ˙b œ VVVVVVVV f œœ wb sffz>

start to build Dr. ∑ ∑ ∑ ∑ ∑ FOR/ VVVVVVVV ¿ ¿¿j ¿¿¿¿ ¿¿¿ ¿ j ¿¿¿¿ ¿ ¿¿¿j ¿¿¿¿ ¿¿¿ ¿ j ¿ ¿¿¿¿ ¿¿¿¿¿j ¿¿¿¿ Dr. ° j œ œ j œ œ j œ œ j œ œ j œ œ / ∑ ∑ œ œ œ œ œ ¢ œ 3 œ 5 œ 3 5 œ 6 œ 5 5 5 6

77 167 mf f q = 160 27 S. I ° ∑ ∑ Œ œb Œ w w & w œ œ œ ˙ œ Ho ld- her time

mf f S. II Œ j w w & ∑ œ œ œ œ w ∑ ÓŒ œ for theœ last time time

mf f A. I Œ j & ∑ ∑ œ œ œ œ w ÓŒ œ wb w for theœ last time time

f A. II Œ j j & œ œ œ œ w ∑ ∑ Œ œ œ œ œ w w ¢ fortheœ last time for theœ last time

œj Fl. ° œ œ œ w w & ∑ ∑ ∑ ∑ Œ œ mf

To Alto Sax.

B. Cl. & w w w# w w# w œ# œ œ# œ# Tenor Saxophone œj œ œj œ œj œ Cl. œ# œ œ w œ# œ œ œ# œ œ w w & ∑ Œ Œ Œ ONLY mf

œj œ Tpt. j œ# œ œ w w & ∑ ∑ Œ œ# œ œ œ w Œ ¢ mf œ mf

clean E. Gtr. I ° ˙ ˙ ˙ ˙ & ∑ ∑ ˙ ˙ ∑ ˙ ˙ ∑ ∑ o mf o f

˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ E. Gtr. II ∑ ˙b ˙ ˙ ∑ ˙b ˙ ˙ ∑ ˙b ˙ ˙ ˙ ˙ ¢& o mf o o mf o f

œ ˙ œ ˙ œ ˙ ∑ & œœ œ™ ˙™ œœ œ™ ˙™ œœ œ™ ˙™ œœ œ™ ˙™ œœœ™ œ œ œ œœ œ™ ˙™ E. Piano œ œ™ ˙™ bœ œ™ ˙™ œ œ™ ˙™ bœ œ™ ˙™ œ œ™ œ œ œ bœ œ™ ˙™ ? w w wn w w# w œ# œ œ# œ { Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ# œ w w w> w> w> w> œ# Vln. I ° æ æ æ æ æ æ æ æ & æ æ æ æ æ æ æ æ sffz sffz sffz sffz ff Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w> w> w> w> œ# œ œ# œ w w Vln. II æ & æ æ æ æ æ æ æ æ sffz REVIEWsffz sffz sffz ff w> wb> w> wb> Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vla. æ æ æ B æ æ æ æ œ# æ œæ œ# æ œn æ w w sffz sffz sffz sffz ff

Vc. ? æ æ æ æ æ æ æ w w ¢ wn æ wæ w#æ wæ œ# æ œæ œ# æ œ sffz> sffz> sffz> sffz> ff

Bass ? œ w w wn w w# w œ# œ œ# sffz> sffz> sffz> sffz>

cymbal roll

Dr. FOR/ ∑ ∑ ∑ ∑ ∑ ∑ + ∑ ¿¿¿ ¿ ¿ j ¿¿¿¿¿¿ ¿ ¿ ¿ ¿ j ¿¿¿¿¿ ¿¿¿ ¿ ¿ j ¿¿¿¿¿¿ ¿¿¿¿¿¿ j ¿¿¿¿¿¿ ¿¿¿¿¿¿ j ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ j ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ j ¿¿¿¿¿¿¿ Dr. ° j œ œ j œ œ j œ œ j œ œ j œ œ j œ œ j œ œ / œ œ œ œ œ œ œ ¢ œ 7 œ 6 œ 7 œ 7 œ œ œ 6 5 6 7 7

78 28 174 H mf

S. I ˙ ˙b ˙ ° Ó œb Œ œ Œ œb œ ˙ ˙b ˙b & œ ˙ ˙ œ œ œb ˙b ˙ œ Ho ld- her, in my arms, say good bye- to ev ry- one

S. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ONLY∑ Ten. Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpt. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

Œ Œ Œ Œ Œ Œ Œ Œ & œ œ œ œ œb œb œ œn œœ œb œb E. Piano œ œb œ œ œ œb œ œ œ œb œb œb œ œ œb œb œb œ œn œb œ œ œ œb œ œ œ œb œb œb œ œ œb œb œb œ ? œŒ Ó ŒÓ œb ŒÓ œbŒ Ó œnŒ Ó ŒÓ œb ŒÓ œbŒ Ó œ œ œ œb œb œn œ œ œb œb { ø ø ø ø ø ø ø

Vln. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. II & ∑REVIEW ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ FORBass ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Dr. / + Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑

79 182 29 ˙b ˙ S. I ° ˙b œ ˙ ˙b Œ ˙ ˙b ˙b ˙b 7 & œ œ œ œ œb ˙ œ œ œ œ œ 8 good bye and ki ss- my mo ther's- he --- ad,

p S. II & ∑ ∑ ∑ ∑ wb wb wb wb 87 good ---- bye

p A. I 7 & ∑ ∑ ∑ ∑ w w w w 8 good ---- bye

p A. II ∑ ∑ ∑ ∑ 7 ¢& ˙ ˙ ˙ ˙ ˙b 8 good ---- bye ˙b w

Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 87 B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ONLY∑ 87 Ten. Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 87

Tpt. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 7 ¢& 8

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 87

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 7 ¢& 8

Œ Œ Œ Œ Œ Œ Œ Œ 7 & œ œn œœ œb œb œ œn œ œ œb œb 8 E. Piano œn œb œ œ œ œb œ œ œ œb œb œb œ œ œb œb œb œ œn œb œ œ œ œb œ œ œ œb œb œb œ œ œb œb œb œ ? 7 œnŒ Ó œ ŒÓ œb ŒÓ œbŒ Ó œnŒ Ó œ ŒÓ œb ŒÓ œbŒ Ó 8 œn œ œb œb œn œ œb œb { ø ø ø ø ø ø ø ø

Solo Vln. I ° 7 & ˙b œ œ ˙ œ œ ˙b œ w ∑ ∑ ∑ ∑ 8 mp œb

Vln. II REVIEW & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 87

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 87

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 7 ¢ 8

Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 87

FORDr. 7 / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 8

80 30 190

S. I ° &87 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. II &87 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. I &87 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. II 7 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&8

Fl. ° &87 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Alto Saxophone œb œ œb œ œ œ œ œ œ œ œb œ œb œ œ œ œ œ œ œ B. Cl. 7 œb j ‰Œ œb j œ œb j ‰Œ œb j &8 ŒŒ œb j ‰ Œ œ ‰Œ J ‰Œ œb j ‰ Œ œ ‰Œ mf œ œ ONLY œ œb œ œb œn œb œ œb œ œb œ œb œn œb œ œb Ten. Sax. 7 œb œ œ œb œ œ &8 œ œ Œ™ œb Œ™ œ Œ™ œb Œ™ œ œ Œ™ œb Œ™ œ Œ™ œb Œ™ mf

Tpt. 7 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&8

E. Gtr. I ° &87 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E. Gtr. II 7 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&8

&87 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ E. Piano ? 87 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ { ø

Vln. I ° &87 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. II REVIEW &87 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vla. B 87 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? 7 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ 8 E¨‹11 G¨Œ„Š9 F‹11 A¨Œ„Š9(;3) Bass ? 7 ∑ ∑ ∑ ∑ 8 ˙b œ™ ˙ œ ˙b œ™ p˙b œ™ ™ f

FORdrum solo: start drum fills with short durations Dr. 7 / 8 VVV ™ VVV ™ VVV ™ VVV ™ VVV ™ VVV ™ VVV ™ VVV ™

81 198 31

S. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œb œ œb œ œ œ œ œ œ œ œb œ œb œ œ œ œ œ œ œ Alto Sax. œ ‰Œ œb j ‰Œ œb j‰ Œ j ‰Œ œ ‰Œ œb j ‰Œ œb j‰ Œ j ‰Œ & J œb œ œ J œb œ ONLYœ œ œb œ œb œn œb œ œb œ œb œ œb œn œb œ œb Ten. Sax. œb œ œ œb œ œ & œ œ Œ™ œb Œ™ œ Œ™ œb Œ™ œ œ Œ™ œb Œ™ œ Œ™ œb Œ™

Tpt. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) Œ Œ Œ Œ Œ Œ Œ Œ & œb œb œb ™ œb ™ œb œb œb ™ œb ™ E. Piano b œ ™ b œ ™ œb b œœ œb b œœ b œ ™ b œ ™ œb b œœ œb b œœ œ œœb œœ™ œ œœb œœ™ œn œ œ ™™™ œ œ œ ™™™ œ œœb œœ™ œ œœb œœ™ œn œ œ ™™™ œ œ œ ™™™ ? œb œ œ™ œb œ œ™ œb œ œ™ œb œ œ™ œb œ œ™ œb œ œ œ™ œ œ œ œ™ œb œ œ œ™ œb œ œ™ œb œ œ œ™ œ œ œ œ™ œb œ œ œ™ { pœb œ œ œ™ ™ f pœb œ œ œ™ ™ f

Vln. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. II REVIEW & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) Bass ? ˙b œ™ ˙ œ ˙b œ™ ˙b œ™ ˙ œ ˙b œ™ p˙b œ™ ™ f p˙b œ™ ™ f

FORStart to keep time as solo continues Dr. / VVV ™ VVV ™ VVV ™ VVV ™ VVV ™ VVV ™ VVV ™ VVV ™

82 32 206 I

S. I ° & ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑

A. I & ∑ ∑ ∑ ∑

A. II ∑ ∑ ∑ ∑ ¢&

œb œb œb œb œb œb œb œb œb œb œb œb Fl. ° œb œb œb & ŒŒ J ‰Œ J ‰Œ J ‰Œ mf

Alto Sax. j & œ ‰Œ‰ ∑ ∑ ONLY∑ œb œb œb œb Ten. Sax. œ œ œb œ œb œ & œ œ Œ™ œ œ Œ™ œb Œ™ œb Œ™ mf

Tpt. ˙b œ ˙ œ & ™ ™ ˙ œ™ ˙ œ™ ¢ f with slide and light reverb ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ E. Gtr. I ° & f

E. Gtr. II ∑ ∑ ∑ ∑ ¢&

E¨‹11 G¨Œ„Š9(;3)

& œb œ œ œb œ œ œb œ œ œb œ œ E. Piano b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ ? œb œ™ œ œb œ œ™ œb œ™ œ œb œ œ™ { b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ Vln. I ° & ∑ ∑ ∑ ∑

Vln. II & REVIEW∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ¢

E¨‹11 G¨Œ„Š9(;3) Bass ? VV ™ VVVV ™ VV ™ VVVV ™

FORkeep time and continue soloing Dr. / VV ™ VVVV ™ VV ™ VVVV ™

83 210 33

S. I ° & ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑

A. I & ∑ ∑ ∑ ∑

A. II ∑ ∑ ∑ ∑ ¢&

œb œb œb œb œb œb œb œb œb œb œb œb Fl. ° œb œ œ œb & J ‰Œ J ‰Œ J ‰Œ J ‰Œ Alto Sax. & ∑ ∑ ∑ ONLY∑ œn œb œ œb œ œ œb œ œ œb Ten. Sax. & œ œ Œ™ œ œ Œ™ œb Œ™ œb Œ™

Tpt. ˙b œ™ ˙ œ™ ˙ œ ˙ œ ¢& ™ ™

˙b œ™ ˙ œ™ E. Gtr. I ° ˙ œ™ ˙ œ™ &

E. Gtr. II ∑ ∑ ∑ ∑ ¢&

F‹11 A¨Œ„Š9(;3)

& œb œ ™ œ œb œ œ ™ œb œ ™ œ œb œ œ ™ E. Piano bbnœœ œœ™™™ œœ bb œœ œœ œœ™™™ bb œœ œœ™™™ œœ bb œœ œœ œœ™™™ ? œ œ™ œ œ œ œ™ œb œ™ œ œb œ œ™ { œ œ™ œ œ œ œ™ b œ œ™ œ b œ œ œ™ Vln. I ° & ∑ ∑ ∑ ∑

Vln. II & ∑REVIEW∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ¢

F‹11 A¨Œ„Š9(;3) Bass ? FORVV ™ VVVV ™ VV ™ VVVV ™ Dr. / VV ™ VVVV ™ VV ™ VVVV ™

84 34 214

S. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb Fl. ° œb œb œb œb œb œ œ œb & J ‰Œ J ‰Œ J ‰Œ J ‰Œ J ‰Œ J ‰Œ J ‰Œ J ‰Œ

˙b œ ˙ œ ˙ œ ˙ œ Alto Sax. ™ ™ ™ ™ ˙ œ™ ˙ œ™ ˙ œ ˙ œ & ™ ™ mf

œ œb œ œb œ œb œ œb œn œb œ œb œœ œb ONLYœœ œb Ten. Sax. œb œb œ œ & œ œ Œ™ œ œ Œ™ œb Œ™ œb Œ™ œ Œ™ œ Œ™ œb Œ™ œb Œ™

˙ œ™ ˙ œ™ ˙ Tpt. œb ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ ˙ œ ¢& ™ ™

˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙b œ™ ˙ œ™ E. Gtr. I ° ˙ œ™ ˙ œ™ &

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3)

& œb œ œ œb œ œ œb œ œ œb œ œ œb œ ™ œ œb œ œ ™ œb œ ™ œ œb œ œ ™ E. Piano b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ bb œœ œœ™ œœ bb œœ œœ œœ™ bb œœ œœ™ œœ bb œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ nœ œ ™™ œ œ œ œ ™™ œ œ ™™ œ œ œ œ ™™ ? œb œ™ œ œb œ œ™ œb œ™ œ œb œ œ™ œ œ œ œ œ œ œb œ™ œ œb œ œ™ { b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ œ œ™ œ œ œ œ™ b œ œ™ œ b œ œ œ™ Vln. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Vln. II & ∑ REVIEW∑ ∑ ∑ ∑ ∑ ∑ ∑ Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) Bass ? VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ FOR Dr. / VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™

85 222 35

S. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

S. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb Fl. ° œb œb œb œb œb œ œ œb & J ‰Œ J ‰Œ J ‰Œ J ‰Œ J ‰Œ J ‰Œ J ‰Œ J ‰Œ f

˙b œ ˙ œ ˙ œ ˙ œ Alto Sax. ™ ™ ™ ™ ˙ œ™ ˙ œ™ ˙ œ ˙ œ & ™ ™

œb œb œb œb œn œb œ œb œONLYœb œ œb œ œ œ œ Ten. Sax. œb œb œ œ œ œ & œ œ Œ™ œ œ Œ™ œb Œ™ œb Œ™ œ Œ™ œ Œ™ œb Œ™ œb Œ™

Tpt. ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙ œ ˙ œ ¢& ™ ™

E. Gtr. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E. Gtr. II ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢&

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3)

& œb œ œ œb œ œ œb œ œ œb œ œ œb œ ™ œ œb œ œ ™ œb œ ™ œ œb œ œ ™ E. Piano b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ bb œœ œœ œœ bb œœ œœ œœ bb œœ œœ œœ bb œœ œœ œœ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ nœ œ ™™™ œ œ œ œ ™™™ œ œ ™™™ œ œ œ œ ™™™ ? œb œ™ œ œb œ œ™ œb œ™ œ œb œ œ™ œ œ œ œ œ œ œb œ™ œ œb œ œ™ { b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ œ œ™ œ œ œ œ™ b œ œ™ œ b œ œ œ™ ˙b œ ˙ œ Vln. I ° ™ ™ ˙ œ™ ˙ œ™ ˙b œ ˙ œ & ™ ™ ˙b œ™ ˙ œ™ f

Vln. II ˙b œ ˙ œ & ™ ™ ˙ œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ f REVIEW ˙b œ ˙ œ ™ ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙ œ ˙ œ Vla. B ™ ™ f

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) Bass ? VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ FOR Dr. / VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™

86 36 230 J fp S. I ° ˙b œ™ ˙ œ™ > & ∑ ∑ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ Ah Ah

fp œ œ™ ˙ œ™ > S. II & Œ ∑ ∑ ∑ ˙ œ™ ˙ œ™ ˙ œ™ Ah Ah

fp A. I ˙b œ™ ˙ œ™ & ∑ ∑ ∑ ∑ ˙b œ™ ˙b œ™ Ah >Ah

fp A. II & ∑ ∑ Œ œb œ™ ˙ œ™ ∑ ∑ ∑ ˙ œ™ ¢ Ah >Ah

œb œ œ ˙ œ ™ ™ œb œb œ™ ˙ œ™ Fl. ° & ∑ ∑ ∑ ∑

> Alto Sax. œb ˙ œ™ ˙ œ & œ œ™ ˙ œ™ œb œ œ ˙ œ ∑ ∑ ™ ™ ™ fp

>˙ œ ˙ œ ˙ œ œb œ œ ˙ œ ™ ™ ™ Ten. Sax. ™ ™ œb ONLY & œ œ™ ˙ œ™ ∑ fp

œb > Tpt. œ œ™ ˙ œ™ œb ˙b œ ˙ œ & œ œ™ ˙ œ™ ™ ™ ˙ œ™ ˙ œ™ ¢ fp

E. Gtr. I ° œb œb œb œb œb j œb j œb œb & ŒŒ œb œb j ‰Œ œb œb j ‰Œ œb œb j ‰ Œ œb œb j‰ Œ œb œb œ ‰Œ œb œb œ ‰Œ œb œb j ‰Œ œb œb mf œb œb œb œb œb

E. Gtr. II & œb Œ™ œb Œ™ œb Œ™ œb Œ™ œn œb Œ™ œ œb Œ™ œ œb Œ™ œ œb Œ™ ¢ œb œb œ œb œb œ œb œ œb œ œ œ œb œb mf œb œb œ œ œb œb

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3)

& œb œ œ œb œ œ œb œ œ œb œ œ œb œ ™ œ œb œ œ ™ œb œ ™ œ œb œ œ ™ E. Piano b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ bb œœ œœ™ œœ bb œœ œœ œœ™ bb œœ œœ™ œœ bb œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ nœ œ ™™ œ œ œ œ ™™ œ œ ™™ œ œ œ œ ™™ ? œb œ œ œb œ œ œb œ™ œ œb œ œ™ œ œ™ œ œ œ œ™ œb œ™ œ œb œ œ™ { b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ œ œ™ œ œ œ œ™ b œ œ™ œ b œ œ œ™ Vln. I ° ˙b œ ˙ œ ˙b œ ˙ œ & ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ™ ™ ™ ™ p f p f p f p f sub sub sub sub

Vln. II & ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ p f p f p f p f sub sub sub REVIEWsub

˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ Vla. B ™ ™ ™ ™ ™ ™ ™ ™ p f p f p f p f sub sub sub sub

˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Vc. ? ¢ p f p f p f p f sub sub sub sub

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) Bass ? VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™

FORKeep building Dr. / ™ ™ ™ ™ ™ ™ ™ ™ fffVV VVVV VV VVVV VV VVVV VV VVVV

87 238 fp 37 S. I ° ˙b œ™ ˙ œ™ > & ∑ ∑ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ Ah Ah

fp œ œ™ ˙ œ™ > S. II & Œ ∑ ∑ ∑ ˙ œ™ ˙ œ™ ˙ œ™ Ah Ah

fp A. I ˙b œ ˙ œ & ∑ ∑ ™ ™ ∑ ∑ ˙b œ™ ˙b œ™ Ah >Ah

fp A. II & ∑ ∑ Œ œb œ™ ˙ œ™ ∑ ∑ ∑ ˙ œ™ ¢ Ah >Ah

œb œ œ™ ˙ œ™ œb œb œ™ ˙ œ™ Fl. ° & ∑ ∑ ∑ ∑ f

fp > Alto Sax. œb œ œ ˙ œ ˙ œ™ ˙ œ & ™ ™ œb œ œ™ ˙ œ™ ∑ ∑ ™

fp > œb ˙ œ™ ˙ œ™ ˙ œ™ Ten. Sax. œ œ™ ˙ œ™ œb ONLY & œ œ™ ˙ œ™ ∑

fp œb > Tpt. œ œ™ ˙ œ™ œb ˙b œ ˙ œ & œ œ™ ˙ œ™ ™ ™ ˙ œ™ ˙ œ™ ¢ f f

E. Gtr. I ° ŒŒ œb j ‰Œ œb j ‰Œ œb j ‰ Œ œb j‰ Œ œb œb j ‰Œ œb œb j ‰Œ œb œb j ‰Œ œb œb & œb œb œb œb œb œb œb œb œb œb œb œb œb œ œb œ œb œb œb

E. Gtr. II Œ™ Œ™ Œ™ Œ™ œb Œ™ œb Œ™ œb Œ™ œb Œ™ ¢& œb œ œb œb œ œb œb œ œb œb œ œb œn œ œb œ œb œ œb œb œb œb œ œ œ œ œb œb

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3)

& œb œ œ œb œ œ œb œ œ œb œ œ œb œ ™ œ œb œ œ ™ œb œ ™ œ œb œ œ ™ E. Piano b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ bb œœ œœ œœ bb œœ œœ œœ bb œœ œœ œœ bb œœ œœ œœ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ nœ œ ™™™ œ œ œ œ ™™™ œ œ ™™™ œ œ œ œ ™™™ ? œb œ™ œ œb œ œ™ œb œ™ œ œb œ œ™ œ œ œ œ œ œ œb œ™ œ œb œ œ™ { b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ œ œ™ œ œ œ œ™ b œ œ™ œ b œ œ œ™ Vln. I ° ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ & æ æ æ æ æ æ æ æ p f p f pæ æ æ æ æ æ æ æf sub sub sub

Vln. II & ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ p ™ ™ p ™ ™ f f pæ æ æ æ æ æ æ æ sub æ æ æ æ æ æ æ æf sub REVIEWsub

Vla. ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ B æ æ æ æ æ æ æ æ p f p f æ æ æ æ æ æ æ æf p sub sub sub

˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Vc. ? æ æ æ æ æ æ æ æ ¢ p f p f p f sub sub sub

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) Bass ? FORVV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ Dr. / VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™

88 38 246 K L

S. I ° œb œb ˙b œ™ ˙ œ™ & ŒŒ œb ™ ŒŒ œb ™ ŒŒ ™ ŒŒ ™ ∑ ∑ Ah

S. II œb œb œ œ™ ˙ œ™ & ŒŒ œb ™ ŒŒ œb ™ ŒŒ ™ ŒŒ ™ Œ ∑ ∑ Ah

A. I ˙b œ™ ˙ œ™ & ŒŒ œb ™ ŒŒ œb ™ ŒŒ œb ™ ŒŒ œb ™ ∑ ∑ Ah

A. II & ŒŒ œb ™ ŒŒ œb ™ ŒŒ œb ™ ŒŒ œb ™ ∑ ∑ Œ œb œ™ ˙ œ™ ¢ Ah

œb œ œb œ œb œ œ™ ˙ œ™ œb > > > œb œ™ ˙ œ™ Fl. ° œb œ™ œb œ™ œb œ™ J & Œ‰ J Œ‰ J Œ‰ J Œ‰ fp fp fp f

> > >œ œ >œ œ Alto Sax. œ œ™ œ œ™ ™ ™ œb œ œ™ ˙ œ™ & Œ Œ Œ Œ œb œ œ™ ˙ œ™ fp fp fp fp f

> > >˙ œ >˙ œ œb Ten. Sax. ˙ œ™ ˙ œ™ ™ ™ œ œ™ ˙ œ™ œb & œ ONLYœ™ ˙ œ™ fp fp fp fp f

œb Tpt. j j > > œ œ™ ˙ œ™ œb & ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ œ œ™ ˙ œ™ ¢ fp>fp > fpJ fpJ f

2+2+3 E. Gtr. I ° œb ™ œb ™ bœ™ bœ™ œb j œb j œb œb & ŒŒ bb œœ™ ŒŒ bb œœ™ ŒŒbbnœœ™ ŒŒ bbœœ™ ŒŒ œb œb ‰Œ œb œb ‰Œ œb œb j ‰ Œ œb œb ™™ ™™ ™ ™ mf œb œb œb

E. Gtr. II & œ œ œ œ œ œ œ œ œ œ œ œ œb Œ™ œb Œ™ œb Œ™ œb Œ™ ¢ ™ ™ ™ ™ œb œb œ œb œb œ œb œ œb œ œ œ œ™ œ œ œ™ œ œ œ™ œ œ œ™ mf œb œb

G¨Œ„Š9(;3)/F A¨Œ„Š9(;3)/F E¨‹11 G¨Œ„Š9(;3) 2+2+3 ŒŒ ŒŒ ŒŒ ŒŒ & œb œb œb ™ œb ™ œb œ œ œb œ œ œb œ œ œb œ œ E. Piano b œ ™ b œ ™ bb œœ bb œœ b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ b œœ™ b œœ™ nœ ™™™ œ ™™™ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ ? œb œ œ œb œ œ œb œ™ œ œb œ œ™ œ œ œ™ œ œ œ™ œ œ œ™ œ œ œ™ b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ { œ œ œ™ œ œ œ™ œ œ œ™ œ œ œ™ Vln. I ° ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ & ™ ™ ™ ™ ™ ™ ™ ™ p f p f p f p f sub sub sub sub

Vln. II & ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ sub sub sub sub p REVIEWf p f p f p f ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ Vla. B ™ ™ ™ ™ ™ ™ ™ ™ p f p f p f p f sub sub sub sub

˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Vc. ? ¢ p f p f p f p f sub sub sub sub

G¨Œ„Š9(;3)/F A¨Œ„Š9(;3)/F E¨‹11 G¨Œ„Š9 P.M. Bass ? Œ™ Œ™ Œ™ Œ™ VV ™ VVVV ™ VV ™ VVVV ™ œ...... œ œ œ œ œ œ œ FORTime Build Dr. / ™ ™ ™ ™ ™ ™ ™ ™ pVV VVVV VV VVVV VV VVVV VV VVVV

89 254 fp 39 S. I ° > ˙b œ™ ˙ œ™ & ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ ∑ ∑ Ah Ah

fp > œ œ™ ˙ œ™ S. II & ∑ ˙ œ™ ˙ œ™ ˙ œ™ Œ ∑ ∑ Ah Ah

fp A. I ˙b œ ˙ œ & ∑ ∑ ˙b œ™ ˙b œ™ ∑ ∑ ™ ™ >Ah Ah

fp A. II & ∑ ∑ ∑ ˙ œ™ ∑ ∑ Œ œb œ™ ˙ œ™ ¢ >Ah Ah

œb œ œ œ œb œ ™ ™ œb œb œ™ ˙ œ™ Fl. ° & ∑ ∑ ∑ ∑ f

fp > Alto Sax. ˙ œ™ ˙ œ œb œ œ œ œ & ∑ ∑ ™ ™ ™ œ œb œ œ™ ˙ œ™ f

fp >˙ œ ˙ œ ˙ œ ™ ™ ™ œb œ œ œ œ œ ONLY Ten. Sax. ™ ™ œb & ∑ œ œ™ ˙ œ™ f

fp > œb œ œ œ œ Tpt. ˙b œ ˙ œ ˙ œ ˙ œ ™ ™ œ œb & ™ ™ ™ ™ œ œ™ ˙ œ™ ¢ f

E. Gtr. I ° j ‰ Œ œb œb œb j ‰Œ œb œb œb j ‰Œ œb œb œb j ‰Œ œb œb œb ŒŒ œb œb j ‰Œ œb œb j ‰Œ œb œb j ‰ Œ œb œb & œb œ œ œb œb œb œb œb œb œb œb

E. Gtr. II œb Œ™ œb Œ™ œb Œ™ œb Œ™ Œ™ Œ™ Œ™ Œ™ ¢& œn œ œb œ œb œ œb œ œb œb œ œb œb œ œb œb œ œb œ œ œ œ œb œb œb œb œb œb

F‹11 A¨Œ„Š9(;3) E¨‹11 G¨Œ„Š9(;3)

& œb œ ™ œ œb œ œ ™ œb œ ™ œ œb œ œ ™ œb œ œ œb œ œ œb œ œ œb œ œ E. Piano bb œœ œœ™ œœ bb œœ œœ œœ™ bb œœ œœ™ œœ bb œœ œœ œœ™ b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ nœ œ ™™ œ œ œ œ ™™ œ œ ™™ œ œ œ œ ™™ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ ? œ œ™ œ œ œ œ™ œb œ™ œ œb œ œ™ œb œ™ œ œb œ œ™ œb œ™ œ œb œ œ™ { œ œ™ œ œ œ œ™ b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ Vln. I ° ˙b œ ˙ œ ˙b œ ˙ œ & ™ ™ ™ ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ p f p f p f p f sub sub sub sub

Vln. II & ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ ˙ œ ˙b œ ˙ œ p ™ ™ p ™ ™ p f p f f f sub sub REVIEWsub sub

˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ Vla. B ™ ™ ™ ™ ™ ™ ™ ™ p f p f p f p f sub sub sub sub

˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Vc. ? ¢ p f p f p f p f sub sub sub sub

F‹11 A¨Œ„Š9(;3) E¨‹11 G¨Œ„Š9 Bass ? FORVV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ Dr. / VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™

90 40 262 fp S. I ° > & ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ Ah

fp > S. II & ∑ ˙ œ™ ˙ œ™ ˙ œ™ Ah

fp A. I & ∑ ∑ ˙b œ™ ˙b œ™ >Ah

fp A. II & ∑ ∑ ∑ ˙ œ™ ¢ >Ah

Fl. ° & ∑ ∑ ∑ ∑

> Alto Sax. ˙ œ™ ˙ œ & ∑ ∑ ™ fp

> ˙ œ™ ˙ œ™ ˙ œ™ Ten. Sax. ONLY & ∑ fp

> Tpt. ˙b œ ˙ œ & ™ ™ ˙ œ™ ˙ œ™ ¢ fp

E. Gtr. I ° j ‰ Œ œb œb j ‰Œ œb œb j ‰Œ œb œb j ‰Œ œb œb & œb œb œ œb œ œb œb œb

E. Gtr. II œb Œ™ œb Œ™ œb Œ™ œb Œ™ ¢& œ œn œ œ œb œ œb œ œ œ œb œb

F‹11 A¨Œ„Š9(;3)

& œb œ ™ œ œb œ œ ™ œb œ ™ œ œb œ œ ™ E. Piano bbnœœ œœ™™™ œœ bb œœ œœ œœ™™™ bb œœ œœ™™™ œœ bb œœ œœ œœ™™™ ? œ œ œ œ œ œ œb œ™ œ œb œ œ™ { œ œ™ œ œ œ œ™ b œ œ™ œ b œ œ œ™ Vln. I ° ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ & æ æ æ æ æ æ æ æ æp æ æ æ æ æ æ fæ sub

Vln. II & ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ æ æ æ æ æ æ æ æ pæ æ æ æ æ æ æ fæ sub REVIEW

Vla. ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ B æ æ æ æ æ æ æ æ pæ æ æ æ æ æ æ fæ sub

˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Vc. ? æ æ æ æ æ æ æ æ ¢ p f sub

F‹11 A¨Œ„Š9(;3) Bass ? FORVV ™ VVVV ™ VV ™ VVVV ™ Dr. / VV ™ VVVV ™ VV ™ VVVV ™

91 41 266 mf S. I ° œb œb œb œb & ŒŒ œb ™ ŒŒ œb ™ ŒŒ ™ ŒŒ ™ Œ ™ ŒŒŒ ™ ∑ ∑

mf S. II œb œb œb œb & ŒŒ œb ™ ŒŒ œb ™ ŒŒ ™ ŒŒ ™ Œ ™ ŒŒŒ ™ ∑ ∑

mf A. I œ œ & ŒŒ œb ™ ŒŒ œb ™ ŒŒ œb ™ ŒŒ œb ™ Œ ™ ŒŒŒ ™ ∑ ∑

mf A. II ŒŒ œb ŒŒ œb ŒŒ œb ™ ŒŒ œb ™ Œ œ™ ŒŒŒ œ™ ∑ ∑ ¢& ™ ™

> > > > > > > > Fl. ° œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ & Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ Œ‰ J Œ Œ‰ J mf

> > > > >œ œ™ >œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ >˙# œ™ >˙# œ™ Alto Sax. & Œ Œ Œ Œ Œ Œ mf

> > > > > > > > œ œ™ œ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Ten. Sax. & Œ ONLYŒ mf

Tpt. j j > > > > > > & ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œ œ œ™ ‰ œ œ œ™ ‰ œ œ œ™ ‰ œ œ œ™ ¢ mf> > J J J J J J

P.M. Open E. Gtr. I ° & Œ™ Œ™ Œ™ Œ™ ‰Œ ‰Œ ‰Œ ‰Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2+3+2 2+3+2 2+2+3 2+2+3 bœœ™ bœœ™ bœœ™ bœœ™ E. Gtr. II ∑ ∑ ∑ ∑ Œ ŒŒŒ Œ ŒŒŒ ¢&

G¨Œ„Š9(;3)/F A¨Œ„Š9(;3)/F B¨Œ„Š7(„ˆˆ11)/F 2+2+3 2+3+2 2+2+3 2+3+2 2+2+3 ŒŒ ŒŒ ŒŒ ŒŒ Œ ŒŒŒ Œ ŒŒŒ & œb œb œb ™ œb ™ œœb ™ œœb ™ œœb ™ œœb ™ E. Piano b œ ™ b œ ™ bb œœ™ bb œœ™ bn œœ™ b œœ™ b œœ™ b œœ™ b œœ™ b œœ™ nœ ™™ œ ™™ ™ ™ ™ ™ ? Œ™ Œ™ Œ™ Œ™ ‰Œ ‰Œ ‰Œ ‰Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vln. I ° ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ & ˙b œ™ ˙ œ™ ™ ™ ™ ™ ™ ™ p f p f p f p sub sub sub

Vln. II ˙ œ ˙ œ ˙ œ ˙ œ & ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ™ ™ ™ ™ sub sub REVIEWsub p f p f p f p

˙b œ ˙ œ ˙b œ ˙ œ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ Vla. B ™ ™ ™ ™ p f p f p f p sub sub sub

˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Vc. ? ? ¢ p f p f p f p sub sub sub

G¨Œ„Š9/F A¨Œ„Š9/F B¨Œ„Š7(„ˆˆ11)/F Bass ? Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ œ...... œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. FORTime Dr. / VVV ™ VVV ™ VVV ™ VVV ™ V V ™ V V V V V ™ V V ™ V V V V V ™

92 42 274 > > S. I ° > > >˙b >œ œb œ ˙ œ œb œ ˙ œ & ˙b œ™ ÓŒ™ ™ ∑ Œ ™ ™ Œ ™ ™ Be fore- Be fore- I die

> > S. II > > œ™ œ ˙ œ™ œ™ œ ˙ œ™ & ˙b œ™ ÓŒ™ ˙b œ™ ∑ Œ Œ Be> >fore- Be fore- I die

A. I > > & ˙b œ™ ÓŒ™ ˙b œ™ ∑ Œ œb ™ œ ˙ œ™ Œ œb ™ œ ˙ œ™ Be> >fore- Be> >fore- I die

A. II & ˙ œ ÓŒ™ ˙ œ™ ∑ Œ œ™ œ ˙ œ™ Œ œ™ œ ˙ œ™ ¢ Be> >fore- ™ Be> >fore- I> die>

> > > > Fl. ° œb œ œb œ œb œ œb œ & ∑ ∑ ∑ ∑ Œ ™ Œ‰ J ™ Œ ™ Œ‰ J ™ mf > > > > œ œ™ œ œ™ œ œ™ œ œ™ Alto Sax. & ∑ ∑ ∑ ∑ Œ Œ Œ Œ mf

> > > > ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Ten. Sax. & ∑ ∑ ∑ ∑ ONLY mf

> > > > Tpt. & ∑ ∑ ∑ ∑ ‰ œ œ œ™ ‰ œ œ œ™ ‰ œ œ œ™ ‰ œ œ œ™ ¢ mfJ J J J

P.M. Open E. Gtr. I ° & Œ™ Œ™ Œ™ Œ™ œ ‰Œ œ œ œ œ ‰Œ œ ‰Œ œ œ œ œ ‰Œ œ...... œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Open 2+3+2 P.M. 2+2+3 2+2+3 2+3+2bœœ™ bœœ™ bœœ™ bœœ™ E. Gtr. II Œ™ Œ™ Œ™ Œ™ Œ ŒŒŒ Œ ŒŒŒ ¢& œ...... œ œ œ œ œ œ œ

B¨Œ„Š7(„ˆˆ11)/F 2+2+3 2+3+2 2+2+3 2+3+2 2+2+3 ∑ ∑ ∑ ∑ Œ Œ ŒŒŒ & œœb ™ œœ ˙˙ œœb ™ œœb ™ œœb ™ E. Piano b œœ™ œœ ˙˙ b œœ™ b œœ™ b œœ™ ? Œ™ Œ™ Œ™ Œ™ ‰Œ ‰Œ ‰Œ ‰Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { œ...... œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vln. I ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vln. II & ∑REVIEW ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

B¨Œ„Š7(„ˆˆ11)/F Bass ? Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ FORœ...... œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. Dr. / VVV ™ VVV ™ VVV ™ VVV ™ V V ™ V V V V V ™ V V ™ V V V V V ™

93 282 43 > > S. I ° > > >˙b >œ œb œ ˙ œ œb œ ˙ œ & ˙b œ™ ÓŒ™ ™ ∑ Œ ™ ™ Œ ™ ™ Be fore- Be fore- I die

S. II > > >œ œ ˙ œ >œ œ ˙ œ & ˙b œ™ ÓŒ™ ˙b œ™ ∑ Œ ™ ™ Œ ™ ™ Be> >fore- Be fore- I die

A. I > > & ˙b œ™ ÓŒ™ ˙b œ™ ∑ Œ œb ™ œ ˙ œ™ Œ œb ™ œ ˙ œ™ Be> >fore- Be> >fore- I die

A. II & ˙ œ ÓŒ™ ˙ œ™ ∑ Œ œ™ œ ˙ œ™ Œ œ™ œ ˙ œ™ ¢ Be> >fore- ™ Be> >fore- I> die>

> > > > > > > > Fl. ° œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ & Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ‰ J

> > > > > > > > Alto Sax. œb œ œ œb œ œ œ œ œ™ œ œ œ™ œ œ œ™ œ œ œ™ œ œ œ™ œ œ œ™ & ‰ J ™ ‰ J ™ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J

> > > > > > > > ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Ten. Sax. & ONLY

> > > > > > > > Tpt. Œ œb œ™ Œ œb œ™ Œ œ œ™ Œ œ œ™ Œ œ œ™ Œ œ œ™ Œ œ œ™ Œ œ œ™ ¢&

P.M. Open E. Gtr. I ° & Œ™ Œ™ Œ™ Œ™ œ ‰Œ œ œ œ œ ‰Œ œ ‰Œ œ œ œ œ ‰Œ œ...... œ œ œ œ œ œ..œ Openœ œ œ œ œ œ œ œ œ œ 2+3+2 2+3+2 P.M. 2+2+3 2+2+3 bœœ™ bœœ™ bœœ™ bœœ™ E. Gtr. II Œ™ Œ™ Œ™ Œ™ Œ ŒŒŒ Œ ŒŒŒ ¢& œ...... œ œ œ œ œ œ..œ G¨Œ„Š9(;3)/F A¨Œ„Š9(;3)/F B¨Œ„Š7(„ˆˆ11)/F 2+3+2 2+2+3 2+3+2 2+2+3 ∑ ∑ ∑ ∑ Œ Œ ŒŒŒ & œœb ™ œœ ˙˙ œœb ™ œœb ™ œœb ™ E. Piano b œœ™ œœ ˙˙ b œœ™ b œœ™ b œœ™ ? Œ™ Œ™ Œ™ Œ™ ‰Œ ‰Œ ‰Œ ‰Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vln. I ° ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ & ˙b œ™ ˙ œ™ ™ ™ ™ ™ ™ ™ p f p f p f p sub sub

Vln. II ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ & ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ p f p f p f p REVIEWsub sub

˙b œ ˙ œ ˙b œ ˙ œ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ Vla. B ™ ™ ™ ™ p f p f p f p sub sub

˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Vc. ? ¢ p f p f p f p sub sub

G¨Œ„Š9(;3)/F A¨Œ„Š9(;3)/F B¨Œ„Š7(„ˆˆ11)/F Bass ? Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ FORœ...... œ œ œ œ œ œ...œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. Dr. / VVV ™ VVV ™ VVV ™ VVV ™ V V ™ V V V V V ™ V V ™ V V V V V ™

94 44 290 M fp fp fp fp fp fp fp fp > > > > > > > > S. I ° œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ & Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ Œ Œ Œ Ah Ah Ah Ah Ah Ah Ah Ah

fp fp fp fp fp fp fp fp S. II > > >œ œ >œ œ >œ œ >œ œ & Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ ™ Œ ™ Œ ™ Œ ™ >Ah >Ah Ah Ah Ah Ah Ah Ah

fp fp fp fp fp fp fp fp A. I j j j j > > > > & ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ >Ah >Ah >Ah >Ah AhJ AhJ AhJ AhJ

fp fp fp fp fp fp fp fp A. II & ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ¢ >Ah >Ah >Ah >Ah >Ah >Ah >Ah >Ah

œ > > > œb Fl. ° œb œ œb œ œb œ >œb œ & ∑ ∑ ∑ ∑ Œ‰ J ™ Œ‰ J ™ Œ‰ J ™ Œ‰ J mf

> > > > œ œ œ™ œ œ œ™ œ œ œ™ œ œ œ Alto Sax. & ∑ ∑ ∑ ∑ ‰ J ‰ J ‰ J ‰ J J‰‰ mf ONLY > > > > ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ Ten. Sax. & ∑ ∑ ∑ ∑ J ‰‰ mf

> > > > Tpt. œ œ œ œ œ œ œ œ & ∑ ∑ ∑ ∑ Œ ™ Œ ™ Œ ™ Œ J ‰‰ ¢ mf

2+3+2 2+2+3 2+3+2 E. Gtr. I ° bœœ™ bœœ™ bœœ™ œ & ∑ ∑ ∑ ∑ Œ ™ ŒŒŒ ™ Œ ™ ŒŒŒ œb œ f

E. Gtr. II ∑ ∑ ∑ ∑ Œ‰Œ ‰Œ ‰Œ ‰Œ ¢& œ œn œ œ œ œ œ œ œ fœ œ œ œ œ œ œ œ œ

B¨Œ„Š7(„ˆˆ11)/F 2+3+2 2+2+3 2+3+2 2+2+3 ∑ ∑ ∑ ∑ Œ ŒŒŒ Œ ŒŒŒ & œœb ™ œœb ™ œœb ™ œœb ™ E. Piano b œœ™ b œœ™ b œœ™ b œœ™ ? ∑ ∑ ∑ ∑ Œ‰Œ ‰Œ ‰Œ ‰Œ œ œn œ œ œ œ œ œ œ { œ œ œ œ œ œ œ œ œ

Vln. I ° & ∑REVIEW ∑ ∑ ∑ ∑ ∑ ∑ ∑ Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

B¨7(„ˆˆ11)/F

Bass ? ∑ ∑ ∑ ∑ Œ œ™ ‰Œ ‰Œ ‰Œ œ œ œ œ œ œ œ œ œ

FORCymbal Fill Dr. ŒŒ ∑ ∑ ∑ / V ™ V V V V V ™ V V V V V ™ V V ™ V V V V V ™

95 298 N fp fp fp fp 2+3+2 2+2+3 2+3+2 2+2+3 45 > > > > S. I ° œb œ™ œb œ™ œb œ™ œb œ™ & Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ œb ™ œ ˙ œb ™ œ œb ™ œ ˙ œ™ Ah Ah Ah Ah Be fore I

fp fp fp fp 2+3+2 2+2+3 2+3+2 2+2+3 S. II > > & Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb ™ œ ˙ œb ™ œ œb ™ œ ˙ œ™ >Ah >Ah Ah Ah Be fore I

fp fp fp fp A. I j j j j & ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ∑ ŒŒ œ™ œ œ™ œ ˙ œ™ >Ah >Ah >Ah >Ah fore I

fp fp fp fp A. II ∑ ŒŒ & ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ œ™ œ œ™ œ ˙ œ™ ¢ >Ah >Ah >Ah >Ah fore I

œb œ œ œ œb œ ™ œb œb œb œb œ™ œ™ . . . Fl. ° œ œ œ œ œ & J ŒŒ™ ∑ ∑ ∑ f

. . . Alto Sax. œb œ œ™ œ œb œ œ œ œ œ œ & œb œ œb œ œ™ œ™ J ŒŒ™ ∑ ∑ ∑ f ONLY œb œb . œ. . Ten. Sax. œ œ™ œ œ œb œb œ œ œ œ & œ œ œ™ œ™ J ŒŒ™ ∑ ∑ ∑ f

œb œb . . Tpt. œ œ™ œ œ œb œb œ œ œ œ œ. & œ œ œ™ œ™ J ŒŒ™ ∑ ∑ ∑ ¢ f

œ œ œ œ E. Gtr. I ° j ‰Œ œb œb j ‰Œ œb œb j ‰Œ œb œb œb j ‰Œ Œ œb œ œb ‰Œ œb œ œb ‰Œ œb œ œb ‰Œ œb œ & œb œb œb œb œb œb J J J œb ™ œ

E. Gtr. II Œ™ Œ™ Œ™ œ œbŒ™ œ œbŒ™ œ œbŒ™ œ œbŒ™ ¢& œb œ œb œb œ œb œb œ œb œb œ œb œ œ œ œ œb œb œb œb œb ™ œ œ œ œ

E¨‹11 G¨Œ„Š9(;3) B¨Œ„Š7(„ˆˆ11)/F 2+3+2 2+2+3 2+3+2 2+2+3 Œ ŒŒŒ Œ ŒŒŒ & œb œ œ œb œ œ œb œ œ œb œ œ n œœb ™ œœb ™ œœb ™ œœb ™ E. Piano b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ b n œœ™ b œœ™ b œœ™ b œœ™ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ ™ ™ ™ ™ ? œb œ œ œb œ œ œb œ™ œ œb œ œ™ ‰Œ ‰Œ ‰Œ ‰Œ b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ œ œ œ œ œ œ œ œ œ œ { œ œ œ œ œ œ œ œ œ œ 2+3+2 2+2+3 2+3+2 2+2+3 Vln. I ° & ∑ REVIEW∑ ∑ ∑ Œ œb ™ œ ˙ œb ™ œ œb ™ œ ˙ œ™ Vln. II & ∑ ∑ ∑ ∑ Œ œb ™ œ ˙ œb ™ œ œb ™ œ ˙ œ™

œ œ œ œ ˙ œ Vla. B ∑ ∑ ∑ ∑ ∑ ŒŒ ™ ™ ™

œ™ œ œ™ œ ˙ œ™ Vc. ? ∑ ∑ ∑ Ó ŒŒ™ ŒŒ œb ™ œ ¢ >f >

E¨‹11 G¨Œ„Š9(;3) B¨Œ„Š7(„ˆˆ11)/F Bass ? ™ ™ ™ ‰Œ ‰Œ ‰Œ ‰Œ VV VVVV VV VVV œb ™ FOR f œ œ œ œ œ œ œ œ œ œ Dr. / VV ™ VVVV ™ VV ™ VVVV ™ V V ™ V V V V V ™ V V ™ V V V V V ™

96 46 306 fp fp fp fp 2+3+2 2+2+3 2+3+2 2+2+3 > > > > S. I ° œb œ™ œb œ™ œb œ™ œb œ™ & Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ œb ™ œ ˙ œb ™ œ œb ™ œ ˙ œ™ Ah Ah Ah Ah Be fore I

fp fp fp fp 2+3+2 2+2+3 2+3+2 2+2+3 S. II > > & Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb ™ œ ˙ œb ™ œ œb ™ œ ˙ œ™ >Ah >Ah Ah Ah Be fore I

fp fp fp fp A. I j j j j & ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ∑ ŒŒ œ™ œ œ™ œ ˙ œ™ >Ah >Ah >Ah >Ah fore I

fp fp fp fp A. II ∑ ŒŒ & ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ œ™ œ œ™ œ ˙ œ™ ¢ >Ah >Ah >Ah >Ah fore I

œb œ œ œ œb œ ™ ™ œb œb œ™ œ™ . . Fl. ° œ œ™ œ™ œ & J ŒŒ™ ∑ ∑ ∑ f

. . Alto Sax. œb œ œ™ œ™ œ œ œ™ œ™ œ & œ œb œ œ™ œ™ J ŒŒ™ ∑ ∑ ∑ f

œb œ. . ONLY Ten. Sax. œ œ™ œ™ œ œ œb œ œ™ ™ œ & œ œ™ œ™ J ŒŒ™ ∑ ∑ ∑ f

œb . Tpt. œ œ™ œ™ œ œ œb œ œ™ œ™ œ. & œ œ™ œ™ J ŒŒ™ ∑ ∑ ∑ ¢ f

œ œ œ œ E. Gtr. I ° œb ‰Œ œb œb j ‰Œ œb œb j ‰ Œ œb œb œb j ‰Œ ‰Œ œb œ œb ‰Œ œb œ œb ‰Œ œb œ œb ‰Œ œb œ & J œb œb œb œb œb j J J J œb ™ œ

E. Gtr. II Œ™ Œ™ Œ™ œ œbŒ™ œ œbŒ™ œ œbŒ™ œ œbŒ™ ¢& œb œ œb œb œ œb œb œ œb œb œ œb œ œ œ œ œb œb œb œb œb ™ œ œ œ œ

G¨Œ„Š9(;3)/B A¨Œ„Š9(;3)/D¨ B¨Œ„Š7(„ˆˆ11)/F 2+2+3 2+3+2 2+2+3 2+3+2 2+2+3 ŒŒ ŒŒ ŒŒ ŒŒ Œ ŒŒŒ Œ ŒŒŒ & œb œb œb ™ œb ™ œœb ™ œœb ™ œœb ™ œœb ™ E. Piano b œ ™ b œ ™ bb œœ™ bb œœ™ bn œœ™ b œœ™ b œœ™ b œœ™ b œœ™ b œœ™ nœ ™™ œ ™™ ™ ™ ™ ™ ? Œ™ Œ™ Œ™ Œ™ ‰Œ ‰Œ ‰Œ ‰Œ œ# œ œ# œ b œœb œ b œœb œ œ œ œn œ œ œ œ œ œ œ { œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2+3+2 2+2+3 2+3+2 2+2+3 Vln. I ° & ∑ ∑ ∑ ∑ Œ œb ™ œ ˙ œb ™ œ œb ™ œ ˙ œ™

Vln. II & ∑ REVIEW∑ ∑ ∑ Œ œb ™ œ ˙ œb ™ œ œb ™ œ ˙ œ™ œ œ œ œ ˙ œ Vla. B ∑ ∑ ∑ ∑ ∑ ŒŒ ™ ™ ™

œ™ œ œ™ œ ˙ œ™ Vc. ? ∑ ∑ ∑ Ó œb ™ ŒŒ™ ŒŒ ¢ >f >œ G¨Œ„Š9(;3)/B A¨Œ„Š9(;3)/D¨ B¨Œ„Š7(„ˆˆ11)/F Bass ? œ œ Œ™ œ œ Œ™ œb œ Œ™ œb œ œb ™ ‰Œ ‰Œ ‰Œ ‰Œ FOR f œ œ œ œ œ œ œ œ œ œ Dr. / VVV ™ VVV ™ VVV ™ VVV ™ V V ™ V V V V V ™ V V ™ V V V V V ™

97 314 O fp fp fp fp fp fp 47 > > > > > > S. I ° œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ & Œ ‰ J Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ‰ J Ah Ah Ah Ah Ah Ah

fp fp fp fp fp fp S. II > > & Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb œ™ >Ah >Ah Ah Ah >Ah >Ah

fp fp fp fp fp fp A. I j j j j j j & ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ >Ah >Ah >Ah >Ah >Ah >Ah

fp fp fp fp fp fp A. II & ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ¢ >Ah >Ah >Ah >Ah >Ah >Ah

Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑

Alto Sax. & ∑ ∑ ∑ ∑ ∑ ∑

Ten. Sax. ONLY & ∑ ∑ ∑ ∑ ∑ ∑

Tpt. ∑ ∑ ∑ ∑ ∑ ∑ ¢&

G¨Œ„Š9(;3)/B A¨Œ„Š9(;3)/D¨ G¨Œ„Š9(;3)/B Solo with Distortion E. Gtr. I ° œb ‰ ™ ™ ™ ™ ™ ™ & J VV VVV VVV VVV VVV VVV

overdriven

E. Gtr. II & œ# œ œ œ# œ œ œb œ œ™ œb œ œ™ œ# œ œ œ# œ œ ¢ n œ œ œ™ œ œ œ™ b œ œ œ™ b œ œ œ™ œ œ œ™ œ œ œ™

G¨Œ„Š9(;3)/B G¨Œ„Š9(;3)/B 2+2+3 A¨Œ„Š9(;3)/D¨ 2+2+3 Œ Œ ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ & œb ™ œb ™ E. Piano b œœb ™ b œœb ™ bb œœ bb œœ b œœb ™ b œœb ™ b œœ™ b œœ™ nœ ™™™ œ ™™™ b œœ™ b œœ™ ? Œ™ Œ™ œb œ Œ™ œb œ Œ™ Œ™ Œ™ { œœ# œ œœ# œ b œ œ b œ œ œœ# œ œœ# œ Vln. I ° & ∑ ∑ ∑ ∑ ∑ ∑

Vln. II & ∑ REVIEW∑ ∑ ∑ ∑ ∑

Vla. B ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ¢

G¨Œ„Š9/B A¨Œ„Š9(;3)/D¨ G¨Œ„Š9(;3)/B Bass ? FORœ œ œ™ œ œ œ™ œb œ œ™ œb œ œ™ œ œ œ™ œ œ œ™ Dr. / V VV ™ VVV ™ VVV ™ VVV ™ VVV ™ VVV ™

98 48 320 fp fp fp fp fp fp > > > > > > S. I ° œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ œb œ™ & Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ‰ J Ah Ah Ah Ah Ah Ah

fp fp fp fp fp fp S. II > > > > & Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb œ™ Ah Ah >Ah >Ah Ah Ah

fp fp fp fp fp fp A. I j j j j j j & ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ >Ah >Ah >Ah >Ah >Ah >Ah

fp fp fp fp fp fp A. II & ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ¢ >Ah >Ah >Ah >Ah >Ah >Ah

œb œ Fl. ° œb œ™ œb œ™ œb œ™ œb œ & ∑ ∑ Œ‰ J Œ‰ J Œ‰ J Œ‰ J mf f

œ œ™ œ œ™ œ œ™ œ œ™ Alto Sax. & ∑ ∑ Œ Œ Œ Œ mf

˙ œ ˙ œ Ten. Sax. ˙ œ™ ˙ œ™ ™ ONLY™ & ∑ ∑ mf

Tpt. j j > > & ∑ ∑ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ¢ mf> > J J A¨Œ„Š9(;3)/D¨ G¨Œ„Š9(;3)/B A¨Œ„Š9(;3)/D¨ E. Gtr. I ° & VVV ™ VVV ™ VVV ™ VVV ™ VVV ™ VVV ™

E. Gtr. II & œb œ œ™ œb œ œ™ œ# œ œ™ œ# œ œ™ œb œ œ™ œb œ œ™ ¢ b œ œ œ™ b œ œ œ™ œ œ œ™ œ œ œ™ b œ œ œ™ b œ œ œ™

A¨Œ„Š9(;3)/D¨ G¨Œ„Š9(;3)/B A¨Œ„Š9(;3)/D¨ 2+2+3 ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ & œb ™ œb ™ œb ™ œb ™ E. Piano bb œœ bb œœ b œœb ™ b œœb ™ bb œœ bb œœ nœ ™™™ œ ™™™ b œœ™ b œœ™ nœ ™™™ œ ™™™ ? œb œ Œ™ œb œ Œ™ Œ™ Œ™ œb œ Œ™ œb œ Œ™ { b œ œ b œ œ œœ# œ œœ# œ b œ œ b œ œ Vln. I ° ˙b œ ˙ œ & ∑ ∑ ∑ ∑ ™ ™ p f

Vln. II & ∑ ∑ ∑ ∑ ˙b œ™ ˙ œ™ REVIEWp f

˙b œ ˙ œ Vla. B ∑ ∑ ∑ ∑ ™ ™ p f

˙ œ™ ˙ œ™ Vc. ? ∑ ∑ ∑ ∑ ¢ p f

A¨Œ„Š9(;3)/D¨ G¨Œ„Š9(;3)/B A¨Œ„Š9(;3)/D¨ Bass ? FORœb œ œ™ œb œ œ™ œ œ œ™ œ œ œ™ œb œ œ™ œb œ œ™ Dr. / VVV ™ VVV ™ VVV ™ VVV ™ VVV ™ VVV ™

99 326 fp 49 S. I ° ˙b œ™ ˙ œ™ > & ∑ ∑ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ Ah Ah

fp œ œ™ ˙ œ™ > S. II & Œ ∑ ∑ ∑ ˙ œ™ ˙ œ™ ˙ œ™ Ah Ah

fp A. I ˙b œ™ ˙ œ™ & ∑ ∑ ∑ ∑ ˙b œ™ ˙b œ™ Ah >Ah

fp A. II & ∑ ∑ Œ œb œ™ ˙ œ™ ∑ ∑ ∑ ˙ œ™ ¢ Ah >Ah

œb œ œ œ œb œ ™ œb œb œb œb œ™ ˙ œ™ Fl. ° & ∑ ∑ ∑ ∑

fp > Alto Sax. œb œ œ œ œb œ ˙ œ™ ˙ œ & ™ œb œ œb œ œ™ ˙ œ™ ∑ ∑ ™

fp >˙ œ ˙ œ ˙ œ œb œ œ œ œb œ ™ ™ ™ Ten. Sax. ™ œb œb ONLY & œ œ œ™ ˙ œ™ ∑

fp œb œb > Tpt. œ œ™ œ œ œb œb ˙b œ ˙ œ & œ œ œ™ ˙ œ™ ™ ™ ˙ œ™ ˙ œ™ ¢ f

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) E. Gtr. I ° & VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™

E. Gtr. II œb œb œb œb œb œb œb œb œb œb œb œ œb œb œb œ œb œb œb œ œb œb œb œ ¢& œb œ œb œ œb œ œb œ œb œ œb œ œb œ œb œ œ œn œ œ œb œ œb œ œb œb œb œb œ œ œb œb

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3)

& œb œ œ œb œ œ œb œ œ œb œ œ œb œ ™ œ œb œ œ ™ œb œ ™ œ œb œ œ ™ E. Piano b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ bb œœ œœ™ œœ bb œœ œœ œœ™ bb œœ œœ™ œœ bb œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ nœ œ ™™ œ œ œ œ ™™ œ œ ™™ œ œ œ œ ™™ ? œb œ œ œb œ œ œb œ™ œ œb œ œ™ œ œ™ œ œ œ œ™ œb œ™ œ œb œ œ™ { b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ œ œ™ œ œ œ œ™ b œ œ™ œ b œ œ œ™ Vln. I ° ˙b œ ˙ œ ˙b œ ˙ œ & ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ™ ™ ™ ™ p f p f p f p f sub sub sub sub

Vln. II & ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ p f p f p f p f sub REVIEWsub sub sub

˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ Vla. B ™ ™ ™ ™ ™ ™ ™ ™ p f p f p f p f sub sub sub sub

˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Vc. ? ¢ p f p f p f p f sub sub sub sub

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) Bass ? FORVV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ Dr. / VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™

100 50 334 fp S. I ° ˙b œ™ ˙ œ™ > & ∑ ∑ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ Ah Ah

fp œ œ™ ˙ œ™ > S. II & Œ ∑ ∑ ∑ ˙ œ™ ˙ œ™ ˙ œ™ Ah Ah

fp A. I ˙b œ ˙ œ & ∑ ∑ ™ ™ ∑ ∑ ˙b œ™ ˙b œ™ Ah >Ah

fp A. II & ∑ ∑ Œ œb œ™ ˙ œ™ ∑ ∑ ∑ ˙ œ™ ¢ Ah >Ah

œb œ œ œ œb œ ™ ™ œb œb œ™ ˙ œ™ Fl. ° & ∑ ∑ ∑ ∑ f

fp > Alto Sax. œb œ œ œ œ ˙ œ™ ˙ œ & ™ ™ œ œb œ œ™ ˙ œ™ ∑ ∑ ™ f

fp > œb œ œ œ œ ˙ œ™ ˙ ONLYœ™ ˙ œ™ Ten. Sax. ™ ™ œ œb & œ œ™ ˙ œ™ ∑ f

fp œb œ œ œ œ > Tpt. ™ ™ œ œb ˙b œ ˙ œ ˙ œ ˙ œ & œ œ™ ˙ œ™ ™ ™ ™ ™ ¢ f f

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) E. Gtr. I ° & VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™

E. Gtr. II œb œb œb œb œb œb œb œb œb œb œb œ œb œb œb œ œb œb œb œ œb œb œb œ ¢& œb œ œb œ œb œ œb œ œb œ œb œ œb œ œb œ œn œ œb œ œb œ œb œb œb œb œ œ œ œ œb œb

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3)

& œb œ œ œb œ œ œb œ œ œb œ œ œb œ ™ œ œb œ œ ™ œb œ ™ œ œb œ œ ™ E. Piano b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ bb œœ œœ™ œœ bb œœ œœ œœ™ bb œœ œœ™ œœ bb œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ nœ œ ™™ œ œ œ œ ™™ œ œ ™™ œ œ œ œ ™™ ? œb œ™ œ œb œ œ™ œb œ™ œ œb œ œ™ œ œ™ œ œ œ œ™ œb œ™ œ œb œ œ™ { b œ œ™ œ b œ œ œ™ b œ œ™ œ b œ œ œ™ œ œ™ œ œ œ œ™ b œ œ™ œ b œ œ œ™ Vln. I ° ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ & æ æ æ æ æ æ æ æ p f p f æp æ æ æ æ æ æ fæ sub sub sub

Vln. II & ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ p f p f æ æ æ æ æ æ æ æ æp æ æ æ æ æ æ fæ sub REVIEWsub sub

Vla. ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙b œ™ ˙ œ™ ˙ œ™ ˙ œ™ B æ æ æ æ æ æ æ æ p f p f æp æ æ æ æ æ æ fæ sub sub sub

˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ Vc. ? æ æ æ æ æ æ æ æ ¢ p f p f p f sub sub sub

E¨‹11 G¨Œ„Š9(;3) F‹11 A¨Œ„Š9(;3) Bass ? FORVV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ Dr. / VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™ VV ™ VVVV ™

101 342 fp fp fp fp 2+3+2 2+2+3 2+3+2 2+2+3 51 > > > > œb ™ œ ˙ œb ™ œ œb ™ œ ˙ S. I ° œb œ™ œb œ™ œb œ™ œb œ™ 4 & Œ‰ J Œ‰ J Œ‰ J Œ‰ J Œ Œ™ 4 Ah Ah Ah Ah Be fore I

fp fp fp fp œ™ œ œ™ œ ˙ S. II > > 4 & Œ œb œ™ Œ œb œ™ Œ œb œ™ Œ œb œ™ ∑ ŒŒ Œ™ 4 >Ah >Ah Ah Ah fore I

fp fp fp fp fp A. I j j j j > > œ™ œ ˙ 4 & ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb œ œ™ ‰ œb ŒŒ™ Œ‰ œb Œ™ Œ Œ™ 4 >Ah >Ah >Ah >Ah AhJ AhJ I

fp fp fp fp fp fp A. II ŒŒ™ Œ Œ™ œbŒ Œ ŒŒŒ 4 & ˙ œ™ ˙ œ™ ˙ œ™ ˙ œ™ œ œ œ > ™ ™ 4 ¢ >Ah >Ah >Ah >Ah >Ah >Ah >Ah

Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ÓŒ™ 4

> > œ™ œ ˙ œ™ œ > Alto Sax. & ∑ ∑ ∑ ∑ Œ œ™ œ ˙ Œ™ 4 f ONLY >œ™ œ ˙ >œ™ œ >œ™ œ ˙ Ten. Sax. & ∑ ∑ ∑ ∑ Œ Œ™ 4 f

> > Tpt. & ∑ ∑ ∑ ∑ ∑ ŒŒ œ™ œ œ™ œ ˙ Œ™ 4 ¢ f

E¨‹11 G¨Œ„Š9(;3) B¨Œ„Š7(„ˆˆ11)/F E. Gtr. I ° 4 & VV ™ VVVV ™ VV ™ VVVV ™ V V ™ V V V V V ™ V V ™ V V V V V ™ 4

E. Gtr. II œb œb œb 4 & œb œ œb œb œ œb œ œb œb œ œ œb œb œb œ œb ‰Œ ‰Œ ‰Œ Œ‰ 4 ¢ œb œb œb œb œb œb œb >™ >œ œ œ œ œ œ œ œ œ œ

E¨‹11 G¨Œ„Š9(;3) B¨Œ„Š7(„ˆˆ11)/F 2+3+2 2+2+3 2+3+2 2+2+3 Œ ŒŒŒ Œ ŒŒŒŒ‰ 4 & œb œ œ œb œ œ œb œ œ œb œ œ n œœb ™ œœb ™ œœb ™ 4 E. Piano b œ œ ™ œ b œ œ œ ™ b œ œ ™ œ b œ œ œ ™ b n œœ™ b œœ™ b œœ™ b œœ œœ™ œœ b œœ œœ œœ™ b œœ œœ™ œœ b œœ œœ œœ™ ™ ™ ™ ? 4 œb œ™ œ œb œ œ™ œb œ™ œ œb œ œ™ ‰Œ ‰Œ ‰Œ Œ‰ 4 b œ bœ™ bœ b œ bœ bœ™ b œ bœ™ bœ b œ bœ bœ™ œ œ œ œ œ œ œ œ œ œ { œ œ œ œ œ œ œ œ œ œ Vln. I ° & ∑ REVIEW∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4

Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & 4 ¢ 4

E¨‹11 G¨Œ„Š9(;3) B¨Œ„Š7(„ˆˆ11)/F Bass ? ™ ™ ™ ™ ‰Œ ‰Œ ‰Œ 4 VV VVVV VV V VVV œ œ œ œ œ œ œ œ œ œ œ 4 FOR ™û Dr. 4 / VV ™ VVVV ™ VV ™ VVVV ™ V V ™ V V V V V ™ V V ™ V V V V V ™ 4

102 gradually slow down out of time = 80 52 350 q p ppp wb w S. I ° &4 œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ die be fore- i die, be fore- i die, be fore- i die, be fore- i die,

p ppp w w 3 3 3 3 S. II &4 œ œ œ œ œ œ œ œ œ œ œ œ die be fore,- be fore,- be fore,- be fore,- be fore,- be fore,-

p ppp 3 3 3 3 3 3 3 3 w w A. I &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ die be fore-i be fore- i be fore- i be fore-i be fore-i be fore- i be fore- i be fore- i

p ppp A. II w w &4 ˙ ˙ ˙ ˙ ¢ die be -- fore I die...

> œ ˙ œ œ œ œ œ œ w Fl. ° &4 ÓŒ‰ J f

> >œ™ œ# œ™ >œ w w Alto Sax. &4 J J ∑ ff

>œ >œ œ > ONLY ™ ™ œ w w Ten. Sax. &4 J J ∑ ff

> > >œ™ œ œ™ œ w w Tpt. &4 J J ∑ ¢ ff

j œ w w w E. Gtr. I ° œ œ œ &4 ™ ™ œ w w w bœ™ œ œ™ Jœ w w w ff>™ > ™

j j E. Gtr. II 4 œ™ œ œ™ &4 œ œ œ™ œb w w w ¢ bœ™ œ œ™ b œ w w w ff>™ >

4 j j &4 œ™ œ œ™ œ w w w E. Piano bœ™ œ œ™ œ w w w œ™ œ œ™ œ w w w j j ? 4 œ œ b œb w w w 4 œb ™ ™ bœ w w w

{ gradualy slow down out of time sul pont. wb œb œ œ œ œ....œ œ œ œb ....œ œ œ œ....œ œ œ œb ....œ œ œ œ....œ œ œ Vln. I ° &4 p

sul pont. w ˙ œ...œ œ œ...œ œ œ...œ œ œ...œ œ œ...œ œ œ...œ œ œ...œ œ œ...œ œ œ...œ œ œ...œ œ Vln. II 4 &4 3 3 3 3 3 3 3 3 3 3 REVIEW p

sul pont...... w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vla. B 4 4 3 3 3 3 3 3 p

sul pont.

Vc...... &4 w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ 5 5 5 5 p

j Bass ? 4 œb œ œ j FOR™ ™ œb w w w Dr. 4 ™ ™ / 4 V JV V JV + + +

103